SMITHSONIAN  INSTITUTION. 

UNITED  STATES  NATIONAL  MUSEUM. 


A SKETCH  OF  THE  HISTORY  OF  CERAMIC  ART 
IN  CHINA,  WITH  A CATALOGUE  OF 
THE  HIPPISLEY  COLLECTION  OF 
CHINESE  PORCELAINS. 


ALFRED  E.  HIPPISLEY, 

Commissioner  of  the  Imperial  Maritime  Customs  S&rvice  of  China 


From  the  Report  of  the  United  States  National  Museum  for  1900,  pages  306-416, 


Digitized  by  the  Internet  Archive 
in  2016 


https://archive.org/details/sketchofhistoryoOOhipp 


SMITHSONIAN  INSTITUTION. 

UNITED  STATES  NATIONAL  MUSEUM. 


A SKETCH  OF  THE  HISTORY  OF  CERAMIC  ART 
IN  CHINA,  WITH  A CATALOGUE  OF 
THE  HIPPISLEY  COLLECTION  OF 
CHINESE  PORCELAINS. 


ALFRED  E.  HIPPISLEY, 

Commissioner  of  the  Imperial  Maritime  Customs  Service  of  China. 


From  the  Report  of  the  United  States  National  Museum  for  1900,  pages  305-416, 
with  twenty-one  plates. 


fern 


WASHINGTON: 

GOVERNMENT  PRINTING  OFFICE. 
I902. 


\ 


G/D 


KETCH  OF  THE  HISTORY  OE  CERAMIC  ART  IN  CHINA, 
WITH  A CATALOGUE  OF  THE  HIPPISLEY  COL- 
LECTION OF  CHINESE  PORCELAINS. 


ALFRED  E.  HIPPISEEY, 

Commissioner  of  the  Imperial  Maritime  Customs  Service  of  China. 


305 


LIST  OF  ILLUSTRATIONS. 


PLATES. 

Facing  page. 

1.  Bowis  of  wiiite  K’anghsi  porcelain  (Nos.  27  and  46) 374 

2.  Vases  of  K’anghsi  porcelain  (No.  53)  and  Chienlung  porcelain  (No.  236) . . 378 

3.  Vases  of  white  K’anghsi  porcelain  (Nos.  81  and  60) 382 

4.  Vase  of  K’anghsi  porcelain  (No.  82) 384 

5.  Plates  of  white  Yungcheng  porcelain  (Nos.  117  and  118) 386 

6.  Vases  of  white  Yungcheng  porcelain  (Nos.  130,  125,  and  129) 388 

7.  Vases  of  white  Yungcheng  porcelain  (Nos.  133,  128,  and  124) . 388 

8.  Pilgrim-bottle  of  white  Chienlung  porcelain  (No.  176) 390 

9.  Plates  of  Chienlung  porcelain  (Nos.  191  and  192)  and  pencil  holder  (No.  221 ) . 392 

10.  Vases  of  Chienlung  porcelain  (Nos.  195  and  194) : 394 

11.  Vase  of  Chienlung  porcelain  (No.  202) 394 

12.  Vase  of  white  porcelain  (No.  206) ....  396 

13.  Vases  of  white  Chienlung  porcelain  (Nos.  220,  226,  and  185) 398 

14.  Vase  of  white  Chienlung  porcelain  (No.  235) 398 

15.  Vase  of  white  Chienlung  porcelain  (No.  238) ^ . 398 

16.  Vase  of  white  Chienlung  porcelain  (No.  245) 400 

17.  Vases  of  white  Chienlung  porcelain  (Nos.  264  and  204) ,,  402 

18.  Teapot  and  cups  of  Chienlung  porcelain  (Nos.  330-332) 406 

19.  Rice  bowls  of  Yungcheng  porcelain  (Nos.  329  and  328)  and  vase  of  Chien- 

lung porcelain  (No.  336)  406 

20.  Pencil  holder  and  wine  cups  of  Ku  Yueh-hsiian  ware  (Nos.  327,  325 

and  326) 408 

21.  Vases  of  white  Chienlung  porcelain  (Nos.  333  and  334) 408 

307 


A SKETCH  OF  THE  HISTORY  OF  CERAMIC  ART  IN  CHINA, 
WITH  A CATALOGUE  OF  THE  HIPPISLEY  COLLECTION 
OF  CHINESE  PORCELAINS.1 


By  Alfred  E.  Hippisley, 

Commissioner  (if  the  Imperial  Maritime  Customs  Service  of  China . 


For  such  information  as  we  possess  regarding  the  history  of  the 
ceramic  art  in  China,  we  have  till  recently  been  chiefly  indebted  to  the 
labors  of  the  famous  French  sinologue,  M.  Stanislas  Julien,  who,  under 
the  title  of  L’Histoire  et  la  Fabrication  de  la  Porcelaine  Chinoise, 
translated,  and  published  in  1856,  the  History  of  the  Manufactory  of 
Chingte-chen  (a  small  town  in  Kiangsi  province,  but  for  centuries  the 
most  important  seat  of  the  Chinese  Porcelain  industry),  a work  written 
by  a local  magistrate  in  1815  from  older  documents,  and  to  the  valua- 
ble letters  from  the  same  town  written  in  1712  and  1722  by  the  Jesuit 
missionary  Pere  d’Entrecolles,  the  priest  in  charge  there,  which  have 
been  published  in  the  collection  of  Lettres  edifiantes  et  curieuses. 
Within  the  past  three  years,  however,  very  valuable  additional  light 
has  been  shed  upon  this  subject  by  the  labors  of  two  gentlemen  who  are 
at  once  collectors  and  Chinese  scholars,  S.  W.  Bushell,  M.  D.,  physician 
to  H.  B.  M.  legation,  Pekin,  and  F.  Hirth,  Ph.  D.,  a member  of  the 
imperial  maritime  customs  service  of  China.  Doctor  Bushell  has  been 
fortunate  enough  to  secure  from  among  the  dispersed  library  of  the 
Prince  of  I the  manuscript  of  a descriptive  catalogue  (of  which  nath^e 
experts  see  no  reason  to  doubt  the  authenticity),  with  illustrations  painted 
in  water-color,  of  eighty-two  celebrated  specimens  of  old  porcelain  seen 
in  the  collections  of  noted  connoisseurs  or  possessed  by  the  author  him- 
self, one  Hsiang  Yuan-p’ien  (styled  Tzu-ehing),  a native  of  Tsui-li,  an 

1In  1887  Mr.  A.  E.  Hippisley,  a commissioner  of  the  imperial  maritime  customs 
service  of  China,  deposited  in  the  U.  S.  National  Museum  a large  and  important  col- 
lection of  Chinese  porcelains,  with  the  understanding  that  the  Museum  should  print 
a descriptive  catalogue,  which  it  did  in  the  Annual  Report  for  1887-88.  The  edition 
of  this  catalogue  having  long  ago  been  exhausted,  and  the  demand  for  it  having 
recently  increased,  owing  to  the  current  interest  in  all  matters  relating  to  China,  it 
is  now  republished  with  emendations  and  with  the  addition  of  a number  of  plates 
illustrating  type  examples  from  the  various  provinces  represented. 


309 


310 


REPORT  OF  NATIONAL  MUSEUM,  1900. 


ancient  name  of  Chia-ho,  now  Chiahsing-fu,  in  Chehkiang  province,  who 
was  a celebrated  collector  of  all  kinds  of  antiquities  during  the  latter 
half  of  the  sixteenth  century.  A translation  of  this  work,  with  explan- 
atory details  by  Doctor  Bushell,  has  been  published  in  the  journal  of 
the  Pekin  Oriental  Society,  under  the  title  of  Chinese  Porcelain  before 
the  Present  Dynasty,  and  it  is,  I believe,  to  be  shortly  republished 
in  an  amplified  form  with  reproductions  of  the  original  drawings. 
Should  this  be  done,  the  work  would,  in  my  opinion,  form  by  far  the 
most  important  and  valuable  contribution  to  our  knowledge  of  this 
interesting  subject.  The  information  regarding  Chinese  porcelain 
which  has  been  bequeathed  to  us  b}^  native  authors  is  to  be  found  in 
their  encyclopedias  or  in  special  treatises  chiefly  based  upon  the  ency- 
clopedias. These  are,  however,  compilations  of  such  vast  extent  that 
the  authors  had  not,  nor  could  be  expected  to  have,  the  intimate 
knowledge  of  an  expert  upon  all  of  the  very  many  subjects  treated 
in  them.  Hearsay  evidence  or  unverified  rumors  have  thus  but  too 
often  been  allowed  to  crystallize  into  permanent  record,  with  the  result 
that  it  is  impossible  after  an  interval  of  centuries  to  attempt  to  recon- 
cile the  many  contradictions  of  statement  contained  in  the  different 
works.  In  this  catalogue,  however,  are  contained  the  reproductions 
in  color  of  eighty-two  specimens  of  the  choicest  productions  of  a period 
extending  over  upward  of  five  centuries,  from  A.  D.  960  to  1521, 
either  possessed  or  seen  by  the  artist,  and  scattered  notes  from  the 
pen  of  one  of  the  most  noted  connoisseurs  of  his  age  regarding  the 
respective  merits  and  rarity  of  the  various  kinds  of  ware.  Existing 
realities  are  presented  to  us  in  place  of  the  vague  generalities  and  con- 
tradictory essays  of  the  encyclopedists,  and  there  can,  I apprehend, 
be  little  doubt  as  to  the  comparative  value  of  the  two  varieties  of  evi- 
dence. Doctor  Hirth’s  contribution — Chinese  Porcelain:  A Study  in 
Chinese  Mediaeval  Industry  and  Trade — is  an  important  paper,  treat- 
ing chiefly  of  Chinese  celadon  porcelain  and  its  distribution  over  the 
Mohammedan  world. 

EARLIEST  MENTION  OF  PORCELAIN. 

According  to  the  legendary  records  of  the  prehistoric  period  of 
Chinese  chronology,  porcelain  was  already  manufactured  under 
Huang-ti,  an  emperor  who  is  said  to  have  entered  upon  a reign  of 
one  hundred  years  in  B.  C.  2697;  and  the  Emperor  Yu-ti-Shun,  another 
monarch  of  the  legendary  period,  is  believed  to  have  himself  made 
porcelain  before  mounting  the  throne  in  B.  C.  2255.  Under  the  suc- 
ceeding dynasty  of  Chou,  mention  is  made  of  an  official  director  of 
pottery,  and  the  processes  of  fashioning  on  the  wheel  and  of  mold- 
ing are  distinguished;  sacrificial  wine  jars  and  altar  dishes,  coffins, 

- ooking  utensils,  and  measures  being  mentioned  among  the  articles 
produced.  Eater  Chinese  writers  have,  however,  long  admitted  that 


CERAMIC  ART  IN  CHINA. 


311 


the  productions  of  that  age  could  only  have  been  of  earthenware 
(possibly  glazed),  and  that  no  greater  antiquity  can  be  claimed  for 
the  manufacture  of  real  porcelain  than  the  reign  of  the  Han 
dynasty,  which  held  the  throne  of  China  from  B.  C.  202  to 
A.  D.  220,  and  that  after  this  date  progress  in  the  system  of  man- 
ufacture was  for  a long  period  but  slow.  At  one  time,  early  in 
the  present  century,  European  archaeologists  were  inclined  to  believe 
than  an  antiquity  might  be  conceded  to  Chinese  porcelain  almost  equal 
to  the  wildest  claims  of  Chinese  historians.1  Some  small  porcelain  bot- 
tles, decorated  with  flowers  and  inscriptions  in  Chinese,  having  been 
brought  to  Europe  by  M.  Rosellini,  who  stated  that  the}r  had  been  found 
in  undisturbed  Egyptian  tombs  dating  from  at  least  1800  B.  C.,  it  was 
concluded  that  the  manufacture  of  porcelain  must  have  existed  in  China 
anterior  to  that  date.  M.  Julien  discovered,  however,  that  the  inscrip- 
tions upon  these  bottles  were  written  in  the  cursive  character,  a style 
of  writing  not  introduced  till  B.  C.  48;  and  later  Mr.  (afterwards 
Sir  Walter)  Medhurst,  then  an  interpreter  in  the  Hongkong  govern- 
ment service,  was  able  with  Chinese  aid  to  identify  the  inscriptions  with 
quotations  from  poems  written  during  the  T4ang  dynasty,  and  later  than 
the  seventh  century  of  the  Christian  era.  Any  title  to  such  great 
antiquity  in  the  manufacture  of  Chinese  porcelain,  based  on  these 
bottles,  which  had  evidently  been  surreptitiously  introduced  into  the 
tombs  by  Arabs,  thus  fell  to  the  ground.  Indeed,  M.  du  Sartel,  who 
has  published  an  exhaustive  work  on  LaPorcelaine  de  la  Chine,  argues 
that  the  manufacture  of  true  porcelain  in  China  did  not  begin  till 
some  centuries  later  than  the  period  assigned  to  it  by  M.  Julien-,. 
who  dates  it  from  the  reign  of  the  Han  dynasty  and  somewhere 
between  the  years  B.  C.  185  and  A.  D.  87.  This  point  will  be  consid- 
ered when  we  come  to  the  reign  of  the  T4ang  dynasty,  the  period  in 
which  M.  du  Sartel  claims  true  porcelain  was  first  made. 

HAN  DYNASTY,  B.  C.  202  TO  A.  D.  220. 

It  is  during  the  Han  dynasty  that  mention  is  first  made  of  Tz^u,  the 
Chinese  designation  of  porcelain.  It  was  then  made  at  Hsinpfing,  a 
district  in  the  State  of  Ch4en,  and  corresponding  with  the  modern  Huai- 
ning  district,  in  Honan  province. 

WEI  DYNASTY,  221  TO  265. 

Under  the  Wei  dynasty,  which  from  A.  D.  221  to  265  enjoyed,  with 
the  dynasties  of  Wu  and  of  Han  of  Szechuen,  divided  supremacy  as 
rulers  of  China,  manufactories  are  mentioned  at  several  places  in  the 
department  of  Hsi-an,  in  Shensi  province  (the  products  of  which  were 
known  as  Kuanchung-yao),  and  at  Loyang,  in  Honan  province  (products 
termed  Loching-t4ao),  as  supplying  porcelain  for  the  imperial  palace. 

1 Rosellini,  I Monumenti  dell’  Egitto,  1834.  Sir  John  Davis,  The  Chinese,  1836. 
J.  Gardener  Wilkinson,  Manners  and  Customs  of  the  Ancient  Egyptians,  1837. 


$12  REPORT  OF  NATIONAL  MUSEUM,  1900. 

CHIN  DYNASTY,  266  TO  419. 

Under  the  Chin  dynasty  (A.  D.  266  to  419)  another  manufactory  is 
mentioned  as  existing  in  the  present  department  of  Wenchou,  in  Cheh- 
kiang  province,  which  produced  porcelain  (known  as  Tung-ou  Uao)  of 
a blue  (or  possibly  celadon)  color  which  was  held  in  high  esteem. 

SUI  DYNASTY,  581  TO  617. 

Under  the  Sui  dynasty,  in  spite  of  its  short-lived  existence,  consid- 
erable progress  appears  to  have  taken  place.  Mention  is  made  of  a 
green  porcelain  manufactured  under  the  directions  of  Ho  Chou  or  Ho- 
Kuei-lin,  president  of  the  board  of  works,  to  replace  glass,  the  method 
of  making  which  had  been  forgotten  “since  its  introduction  into  China 
by  Indian  or  Syrian  artisans  about  A.  D.  424. 5,1  A celebrated  work- 
man, named  T*ao  Yu,1 2  is  said  to  have  produced  porcelain  so  like  jade, 
that  is,  semitransparent  and  of  vitreous  appearance,  that  his  vases 
were  known  as  “artificial  jade;”  and  about  the  close  of  this  or  the 
beginning  of  the  following  dynasty  porcelain,  white  in  color  and 
bright  as  jade  (known  as  Ho-yao,  i.  e.,  Ho  porcelain),  was  manufac- 
tured by  Ho  Chung-ch4u,  a workman  who  came  from  Hsinp’ing,  the 
district  where  porcelain  (fe%)  had  its  first  origin  under  the  Han  dynasty. 
An  imperial  decree  of  583  ordered  the  establishment  of  a manufactory 
at  the  place  now  known  as  Chingte-chen  (so  named  from  the  title  of 
the  period,3  Chingte,  in  which  it  was  inaugurated)  for  articles  for  the 
use  of  the  imperial  household,  and  several  others  sprang  up  in  the 
vicinity  shortly  afterwards. 

1 F.  Hirth,  China  and  the  Roman  Orient,  pp.  230  et  seq. 

2 The  producer’s  reputed  name,  meaning  as  it  does  “ faience  or  kiln  jade,”  sounds 
apocryphal,  and  seems  more  likely  to  have  been  the  term  by  which  this  ware  was 
known. 

3 It  being  contrary  to  etiquette  to  mention  the  personal  name  of  a Chinese  sovereign, 
the  practice  was  introduced  B.  C.  163,  under  the  earlier  Han  dynasty,  of  the  mon- 
arch, on  his  accession  to  the  throne,  selecting  some  title  for  his  reign  in  place  of  the 
title  of  Prince  so-and-so,  which  had  been  usually  employed  prior  to  the  time  of  Shih 
Huangti,  B.  C.  221.  These  titles  were  usually  so  chosen  as  to  be  of  happy  augury, 
but  if,  in  spite  of  such  good  omen,  disorder  or  misfortune  ensued  or  some  other  rea- 
son seemed  to  render  a change  advisable,  one  title  would  be  abandoned  in  favor  of 
another.  This  title  is  termed  nien-hao,  “the  year  designation,”  because  so  long  as 
it,  lasted  the  date  of  all  events  was  chronicled  as  such  and  such  a year  of  such  and 
such  a title,  or  nien-hao.  Upon  his  death,  however,  the  emperor  received  an  honor- 
ific title,  and  but  one  title,  no  matter  how  many  nien-hao , or  “year  designations,” 
he  may  have  employed  while  alive,  under  which  the  religious  ceremonies  due  to  him. 
were  offered,  and  which  is  therefore  termed  the  miao-liao , or  “temple  designation.” 
Thus  it  results  that  when  in  Chinese  literature  a deceased  emperor  is  personally 
alluded  to  he  is  spoken  of  under  his  “temple  designation,”  while  if  the  date  of  an 
event  which  occurred  during  his  reign  is  quoted  it  is  said  to  have  taken  place  in  such 
and  such  a year  of  the  appropriate  “year  designation.”  Take,  as  an  instance,  the 

last  emperor  of  the  Yuan  dynasty,  who  reigned  from  1333  to  1367;  if  spoken  of  per- 
sonally his  title  would  be  Shunti  of  the  Yuan  dynasty;  but  if  the  year  1334  were 


CERAMIC  ART  IK  CHINA. 


313 


T‘ANG  DYNASTY,  618  TO  906. 

Under  the  succeeding,  the  T4ang  dynasty,  which  ruled  from  618  to 
906,  the  manufacture  appears  to  have  spread  over  the  greater  part  of 
the  empire,  and  to  have  reached  in  some  places  a degree  of  excellence 
far  in  advance  of  that  previous^  attained.  The  following  varieties  are 
specifically  enumerated  (in  the  reverse  order  of  their  merit): 

The  Hungchou-yao , a yellow-black  porcelain  from  Hungchow,  the 
present  department  of  Nan-ch4ang,  in  Kiangsi  province. 

The  Skou-yao , a yellow  porcelain  from  Shouchou  in  (present)  Kiangsu 
province. 

spoken  of,  it  would  read  “the  second  year  of  (the)  Yuan  t‘ung  (period),”  and  simi- 
larly 1336  and  1343  would  read  “the  second  year  of  (the)  Chihyuan  period)”  and 
■“  the  second  year  of  (the)  Chihcheng  (period).”  Owing  to  the  fact  that  dates  are 
thus  rendered  by  the  Chinese  foreign  writers  have  at  times  erroneously  spoken  of 
the  nien-hcio , or  “period,”  as  the  reign,  whereas  the  miao-hao  or  “ temple  designation  ” 
alone  corresponds  to  the  Western  idea  of  reign,  so  far  as  any  time  prior  to  the  Ming 
dynasty  is  concerned.  During  the  Ming  and  its  successor,  the  present  dynasty,  how- 
ever, each  emperor  has  practically  used  but  one  “year designation”  throughout  the 
period  he  has  occupied  the  throne,  because  though  Ying  Tsung  of  the  Ming  dynasty 
employed  two  such  designations  they  were  separated  by  an  interregnum  of-  seven 
years’  duration;  and  though  T‘ai-Tsung-Wen,  of  the  present  dynasty,  also  employed 
two,  he  seldom  or  never  comes  to  the  notice  of  foreign  writers.  The  term  “period” 
being  in  any  case  an  inconvenient  one,  and  the  ‘ 4 year  designation  ’ ’ under  the 
Ming  and  the  present  dynasty  being  synchronous  with  the  reign,  it  Seems  hyper- 
critical to  insist  on  uniformly  translating  nien-hcio  by  “period”  in  the  case  of 
emperors  of  those  dynasties,  especially  as  consistency  would  require  that  names  so 
well  known  to  every  schoolboy,  as  Kanghsi,  Yungcheng,  and  Chienlung  be  replaced 
by  the  proper  titles,  Sheng-Tsu-Jen  Huangti,  Shih-Tsung-Hsien  Huangti,  and  Kao- 
Tsung-Shun  Huangti.  In  the  following  pages,  therefore,  the  nien-hcio  or  “year 
designation  ” has  been  rendered  4 4 period”  prior  to  the  accession  of  the  Ming  dynasty 
in  1368,  and  subsequently  to  that  date  as  4 4 period”  or  “reign,”  according  to  circum- 
stances. 

The  dates  upon  porcelain  are  also  usually  recorded  by  the  use  of  the  nien-hcio,  as 
above  described,  though  other  marks  are  mentioned  by  Chinese  writers,  and  if  the 
article  has  been  manufactured  for  the  special  use  of  some  emperor  or  prince,  it  will 
possibly  bear  the  name  of  the  pavilion  or  portion  of  the  palace  for  which  it  is  spe- 
cially intended.  Chinese  writers  state  that  the  practice  of  marking  the  date  of  man- 
ufacture was  instituted  by  the  Emperor  Chen  Tsung  of  the  Sung  dynasty,  when,  on 
the  establishment  of  the  government  factory  at  Chingte-ch^n,  he  ordered  that  each 
article  manufactured  should  be  marked  with  the  nien-hcio  then  used  “Chingte,  1004 
to  1007.”  Foreign  writers  on  the  marks  upon  porcelain  specify  other  marks  of  the 
same  dynasty,  but  upon  what  authority  is  not  clearly  specified.  So  far  as  my  own 
knowledge  goes,  I am  unaware  of  any  such  date-marks  being  inscribed  under  the 
glaze  prior  to  the  Ming  dynasty.  Since  that  time,  putting  aside  monochromes, 
which,  in  probably  the  majority  of  instances,  bear  no  mark,  they  have  been  employed 
uninterruptedly,  except  during  a portion  of  K’anghsi’s  reign.  In  1677  the  magis- 
trate in  charge  at  Chingte-chen  forbade  the  practice  alike  of  inscribing  the  date 
and  of  portraying  the  actions  of  celebrated  personages,  on  the  ground  that  if  the 
article  were  broken,  disrespect  might  be  shown  to  them  or  to  the  emperor.  During 
this  period,  which  was  of  but  short  duration,  however,  a leaf,  a censer,  and  other 
marks  replaced  the  nien-hao. 

NAT  mus  1900 23 


REPOET  OF  NATIONAL  MUSEUM,  1900. 


31  1 

The  Yo-yao , a blue  porcelain,  according  to  Julien,  but  the  color  was 
more  probably  a pale  green,  for  the  CITa  ching,  a Treatise  on 
Tea,  written  in  the  eighth  century,  says  cups  of  this  ware  gave 
to  the  infusion  a green  tint — from  the  department  of  Yochou,  in 
(present)  Hunan  province. 

The  Wu-yao  and  Ting-yao , of  colors  unspecified,  from  the  department 
of  Wuchou,  corresponding  with  the  present  department  of  Chinhua 
in  Chehkiang  province;  and  from  the  department  of  Tingchow, 
corresponding  with  the  present  district  of  Chingyang  in  the  Hsi-an 
department,  Shensi  province,  respectively. 

The  Yueh-yao , a blue,  or  for  the  same  reason  as  in  the  case  of  Yo-yao  a 
pale-green  porcelain,  much  sought  after  from  the  earliest  times, 
from  Yiiehchou,  corresponding  with  the  present  department  of 
Chaohsing  in  Chehkiang  province;  and  lastly 
The  Shu-yao  or  Szechuen  porcelain,  easily  first  among  the  productions 
of  that  age,  snow-white  in  color,  with  a clear  ring,  thin  but  strong, 
and  graceful  in  shape,  fram  the  city^  of  Ta-i,  in  the  department  of 
Kfiungchou,  in  (present)  Szechuen  province. 

THE  ANTIQUITY  OF  TRUE  PORCELAIN. 

As  already  stated,  M.  du  Sartel  declines  to  admit  the  antiquity  attrib- 
uted by  M.  Julien,  on  the  authority  of  the  native  work  he  translated, 
to  the  production  of  true  porcelain  in  China,  namely,  the  time  of  the 
Han  dynasty,  and  somewhere  between  the  years  B.  C.  185  and  A.  D.  87. 
His  arguments,  however,  are  marked  b}^  strange  inaccuracies.  Having 
referred  the  productions  of  Hungchou,  Shouchou,  Yochou,  and  Yiieh- 
chou,  which,  as  above,  Chinese  authors  claim  to  have  been  first  manu- 
factured under  the  T‘ang  dynasty,  back  to  the  Chfin  dynasty,  that  is, 
to  a period  nearly  two  centuries  earlier,  M.  du  Sartel  argues  that  the 
remarks  made  in  the  Treatise  on  Tea  above  referred  to  (which,  when 
enumerating  the  varieties  of  Tfcang  porcelain,  classifies  them  merely 
according  to  the  suitability  of  their  colored  glazes  to  impart  an  agree- 
able tint  to  tea  held  in  them)  tend  to  show  that  the  bowls  or  cups  in 
question  could  not  have  been  transparent  porcelain,  bearing  a decora- 
tion in  the  colors  named  under  the  glaze,  but  must  have  been  of  an 
opaque  substance,  covered  internally  with  a thick  colored  glaze.  In 
this  view  he  considers  himself  supported  by  the  description  given  of  the 
Sui  dynasty  manufactures.  This,  he  argues,  gives  an  idea  of  trans- 
parence, but  the  transparence  is  due  merely  to  the  use  of  a more  vit- 
reous composition  or  to  a more  thorough  baking  than  had  been  pre- 
viously customary,  and  the  white  color  and  other  distinctive  qualities 
of  true  porcelain  are  only  to  be  first  found  in  the  productions  of  the 
Twang  dynasty — that  is,  in  those  productions  which  M.  du  Sartel,  in 
disregard  of  the  statements  of  Chinese  writers,  the  only  authorities  we 
have  to  guide  us,  himself  elects  to  refer  to  this  dynasty.  Secondly,  he 


CERAMIC  ART  IN  CHINA. 


315 


argues  that  the  porcelain  manufactured  under  the  Sui  and  preceding 
dynasties  is  uniformly  denominated  tfao,  that  from  the  latter  half  of 
the  T4ang  dynasty  this  word  is  replaced  by  the  designation  yao , which 
has  continued  in  use  up  to  the  present  time,  and  that  the  change  in  name 
coincides  with  a change  in  the  character  of  the  porcelain  manufactured. 

The  word  yao  as  a designation  of  porcelain  came  into  general  use, 
it  is  true,  at  the  beginning  of  the  T4ang  dynasty,  but  that  fact 
would  scarcely  justify  the  conclusion  that  it  was  designedly  intro- 
duced in  order  to  mark  a synchronous  change  in  the  character  of  the 
ware,  since  the  same  word,  which  is  in  any  case  but  a neutral  term 
applicable  to  any  kind  of  pottery,  is  met  with  four  centuries  earlier 
to  designate  some  of  the  products  of  the  Wei  dynasty;  and  besides, 
in  the  titles  of  the  chapters  in  the  Provincial  Topographies  dealing  with 
these  manufactures,  also  in  the  Treatise  on  Pottery  (the  T4ao  shuo, 
written  by  Chu  T4ung-ch4uan  during  the  reign  of  Chien-lung,  1736  to 
1795,  the  authority  on  this  subject),  and  in  the  work  translated  by  M. 
Julien,  it  is  the  word  tfao,  not  yao , that  is  used  to  designate  porcelain. 
Chinese  terminology  is  but  an  insecure  foundation  on  which  to  base 
arguments,  and  it  might  with  no  less  fairness  be  contended,  as  the  Chi- 
nese author  translated  by  M.  Julien  does  contend,  that  the  introduc- 
tion of  the  character  signifying  44  porcelain,”  and  employed  down 
to  the  present  day  to  designate  the  pottery  of  the  Han  dynasty,  was 
rendered  necessary  by  the  production  of  an  article  hitherto  unknown, 
and  that  this  article  was  true  porcelain. 

On  different  grounds  from  those  advanced  by  M.  du  Sartel,  Doctor 
Hirth,  also,  refers  the  earliest  manufacture  of  true  porcelain  totheT4ang  ' 
instead  of  to  the  Han  dynasty.  He  says:  44  The  Cheng-lei-pen-ts4ao, 
the  pharmacopoeia  of  the  Sung  dynasty,  compiled  in  1108,  under  the 
head  of  4 Porcelain  Earth’  (Kaolin)  or  Pai-ngo,  quotes  from  the  writ- 
ings of  T4ao  Yin-chti  that  4 this  substance  is  now  much  used  for  paint- 
ing pictures,’  and  from  the  T4ang  pen-ts4ao,  the  pharmacopoeia  of  the 
T4ang  dynasty,  compiled  about  650:  4 This  earth  is  now  used  for  painters’ 
work,  and  rarely  enters  into  medical  prescriptions;  during  recent  gen- 
erations it  has  been  used  to  make  white  porcelain.’”  As  T4ao  Yin-" 
cbu  was  a celebrated  author  on  pharmaceutical  and  other  scientific 
subjects,  who  died  A.  D.  536,  Doctor  Hirth  argues  that  had  the  pai-ngo 
or  kaolin  been  used  in  his  time  on  an  extensive  scale  in  the  manufac- 
ture of  chinaware,  so  learned  a writer  would  almost  certainly  have 
mentioned  the  subject,  and  he  therefore  concludes  that  porcelain 
earth  for  the  manufacture  of  pottery  came  into  use  later  than  536, 
and  at  some  time  during  the  T4ang  period,  prior  to  650,  about  which 
date  the  pharmacopoeia  of  that  dynasty  was  compiled. 

This  negative  testimony  does  not,  however,  dispose  of  the  strong  argu- 
ment in  favor  of  the  earlier  date,  afforded  by  the  coining  during  the  Han 
dynasty  of  a new  word,  fe4$,  to  designate  the  productions  of  that  age, 


316 


REPORT  OF  NATIONAL  MUSEUM,  1900. 


a word  which,  as  already  stated,  is  still  in  ordinary  use  to  designate 
porcelain.  On  this  point  Doctor  Hirth  thinks  he  has  detected  that 
the  word  tz‘u  has  had  different  significations  at  different  epochs,  for 
while  in  the  Shuo-wen,  a glossary  published  A.  D.  100,  tz‘u  is  defined 
as  “ earthenware,”  it  is  defined  in  the  dictionaries  of  the  Sung  period — 
nine  centuries  later — as  “hard,  fine-grained  pottery;  ” and  calling  atten- 
tion to  the  fact  that  there  are  now  two  forms  of  this  character  in  use,  the 
original  form  with  the  radical  denoting  “ brick  or  earthen  material,” 
and  a later  form  with  the  radical  “stone,”  he  thinks  that  4 4 this  substitu- 
tion by  later  generations  for  the  original  sign  of  a character  of  the  same 
sound,  but  with  a radical  more  appropriate  to  the  category  of  the  word 
as  it  was  at  the  time  understood,  may  be  regarded  as  indicating  a 
change  from  the  original  meaning.”1  Even  if  this  be  true,  no  data  are 
thereby  afforded  to  help  fix  even  the  approximate  date  of  change  in  the 
method  of  manufacture.  For  after  the  change  in  the  system  of  manu- 
facture had  taken  place,  a considerable  period  would  almost  certainly 
elapse  before  an  author  of  sufficient  literary  importance  to  impose  a 
new  style  of  writing  on  the  nation  would  learn  sufficient  regarding  the 
altered  ingredients  employed  to  have  the  corresponding  modification  in 
the  descriptive  word  suggested  to  his  mind,  and  a still  longer  period 
would  elapse  before  this  newly  coined  word  would  pass  into  current  use. 

The  authors  translated  by  M.  J ulien,  too,  state  distinctly  that  the 
introduction  of  the  later  form — that  with  the  radical  “stone” — and  the 
continued  use  of  it  are  due  to  ignorance  and  error.  At  TVu-chou,  a 
district  anciently  within  the  department  of  Changte,  in  Honan  prov- 
ince, but  now  belonging  to  the  department  of  Kuangpfing,  in  Chihli 
province,  a kind  of  porcelain  was  made  during  the  Sung  dynasty  which 
enjoyed  a very  high  reputation,  the  plain  white  specimens  bringing 
even  higher  prices  than  the  celebrated  productions  of  Tingchow,  which 
it  closely  resembled.  This  ware  was  known  as  Tz^u  ware,  or  porcelain 
from  Tz4u-chow,  and  thus  this  form  of  the  character,  which  was  origi- 
nally a local  designation,  not  an  intentional  modification  of  the  older 
form  introduced  to  typify  a modification  in  the  system  of  manufacture, 
jiassed  into  general  use  to  designate  not  merely  this  special  class,  but 
(erroneously)  all  porcelain.2 * 

ORIGIN  OF  TERM  “PORCELAIN.” 

It  is  a curious  coincidence  that  no  less  diversity  of  opinion  has  existed 
regarding  the  date  at  which  the  western  equivalent  of  this  word  tz^u, 
the  term  “porcelain,”  was  introduced  and  the  article  it  has  at  different 

1F.  Hirth,  Ancient  Chinese  Porcelain,  p.  2. 

aS.  Julien,  L’Histoire  et  la  Fabrication  de  la  Porcelaine  Chinoise,  p.  29:  This  is,  I 
think,  probably  the  true  explanation  of  the  change  of  form;  for  the  only  correct  way  of 

writing  this  character  recognized  at  the  present  time  by  the  Imperial  Academy  is  the 

original  form,  with  the  radical  “ earthenware,”  not  that  with  the  radical  “stone,” 


CERAMIC  ART  IN  CHINA. 


317 


times  been  used  to  designate.  Pere  d’Entrecolles  affirms  that  the  name 
porcelain  was  first  given  by  the  Portuguese  to  the  Chinese  vases 
imported  by  them  into  Europe  in  1518,  but  further  researches  into 
the  history  of  the  word  by  M.  Brongniart  and  M.  de  Laborde  show 
that  the  name  arose  from  a supposed  resemblance  in  appearance  of 
surface  between  the  transparent  pottery  of  the  East  and  certain  shells 
which  had  been  previously  so  designated.  M.  de  Laborde  says: 

Les  anciens  ayant  trouve  ou  cherche  une  ressemblance  entre  ce  qu’ils  appelaient 
porca  et  certaines  coquilles,  donnerent  a celles-la  le  nora  de  porcella.  Le  moyen  Age 
accepta  cette  analogie  en  appelant  porcelaine  une  famille  entiere  de  coquilles,  et  aussi 
les  ouvrages  qui  etaient  faits  de  nacre  de  perle,  et,  par  metonymie,  la  nacre  seule 
tiree  de  la  coquille. 

A partir  du  XIVe  siecle,  les  gardes  des  joyaux  decrivent  en  grand  norabre  dans  les 
inventaires,  et  les  experts  mentionnent  et  estiment  dans  leurs  rapports,  des  vases,  des 
ustensiles  de  table,  des  tableaux  de  devotion,  et  des  joyaux  faits  de  la  porcelaine. 
Cette  expression  a travers  quelques  variantes  sans  importance,  reste  la  meme  et  s’ ap- 
plique aux  memes  choses  jusqu’au  XVIe  siecle;  de  ce  moment  elle  se  bifurque  pour 
conserver  d’une  part  sa  vieille  signification,  et  s’etendre  de  1’ autre  a des  vases  et 
ustensiles . d’ importation  etrangere  qui  offraient  la  meme  blancheur  nacree.  C’etait 
la  poterie  emaillee  de  la  Chine  qui  s’emparait  de  ce  nom  auquel  elle  n’avait  droit  que 
par  une  analogie  de  teinte  et  de  grain. 

M.  du  Sartel  is  strongly  of  opinion  that  the  word  porcelain  was  used 
in  its  present  sense  far  earlier  than  the  date  assigned  by  M.  de  Laborde, 
and  in  support  of  his  view  quotes  the  mention  of  u pourcelaine  ” in  ro}ral 
inventories  dating  from  1360  to  1416  for  France,  and  from  the  beginning 
of  the  sixteenth  century  for  the  Roman  Empire.  These  documents 
appear  to  me,  however,  rather  to  support  M.  de  Laborde’s  views;  foi; 
the  details  given  in  the  French  inventories  of  representations  on  the 
articles  named,  of  our  Lord,  the  Blessed  Mother,  and  of  Saints,  and  of 
their  decoration  with  jewels,1  would  seem  to  make  the  possibility  of  their 
being  oriental  porcelain  more  than  doubtful;  while  the  inventories 
belonging  to  the  Roman  Empire — that  is,  from  the  date  M.  de  Laborde 
says  the  word  was  applied  to  oriental  pottery,  do  mention  articles 
undoubtedly  of  real  porcelain,  all,  with  one  exception,  in  monochrome. 

A statement  quoted  by  M.  du  Sartel  from  Pierre  Belon,  of  1553,  is 
worth  reproducing,  as  evidence  that  in  the  latter  half  of  the  sixteenth 
century  the  word  porcelain  was  still  applied  to  shells,  to  mother-of-pearl, 
to  oriental  pottery,  and  even  to  Italian  faience.  He  says: 

Des  vaisseaux  de  porcelaine,  qu’il  a vus  vendre  en  public  au  Caire,  lesquels  vases 
de  porcelaine  sont  transparents  et  coustent  bien  cher  au  Caire  et  ilk  disent  mesme- 
ment  qu’ilz  les  apportent  des  Indes,  mais  cela  ne  me  sembla  vraysemblable;  car  on 

1With  regard  to  the  last  mentioned,  it  should  be  stated  that  in  the  magnificent 
Dresden  collection,  formed  chiefly  by  Augustus  the  Strong,  King  of  Poland  and 
Elector  of  Saxony,  between  1694  and  1705,  there  is  a small  ivory-white  plate  with 
uncut  rubies  and  emeralds  in  gold  filigree  let  into  the  paste,  with  the  character  fa, 
happiness,  on  the  foot  in  blue  under  the  glaze,  which  is  said  to  have  been  brought 
by  a crusader  from  Palestine  in  the  twelfth  century. 


318 


REPORT  OF  NATIONAL  MUSEUM,  1900. 


n’en  voilroit  pas  si  grande  quantite  ni  de  si  grandes  pieces  s’il  les  falloit  apporter  de 
si  loing.  Une  esguiere,  an  pot  ou  an  autre  vaisseau,  pour  petite  qu’elle  soit,  couste 
un  ducat;  si  c’est  quelque  grand  vase,  il  coustera  da  vantage. 

Et  les  voyant  nommez  d’une  appellation  moderne  et  cherchant  leur  etymologie 
frangoise,  j’y  trouve  qu’ils  sont  nommez  du  nom  que  tient  une  espece  de  coquille  de 
porcelaine.  Mais  l’affinite  de  la  diction  Murex  correspond  a Murrhina;  toutefois  je  ne 
clierc.he  1’ etymologie  que  du  nom  frangois  en  ce  que  nous  disons  vaisseaux  de  pource- 
layne,  scachans  que  les  Grecs  nomment  la  mirrhe  de  Smirna,  les  vaisseaux  qu’on  vend 
pour  ce  aujourd’liui  en  nos  pais,  nommez  de  pourcelaine,  ne  tiennent  tache  de  la 
nature  des  anciens;  et  combien  que  les  meilleurs  ouvriers  de  l’ltalie  n’en  font  point 
de  telz,  toutefois,  ils  vendent  leurs  ouvrages  pour  vaisseaux  de  pourcelaine,  combien 
qu’ils  n’ont  pas  la  matiere  de  mesme. 1 2 

THE  FIVE  DYNASTIES,  907  TO  959. 

To  the  T’ang  succeeded  the  epoch  of  the  five  dynasties,  all  of  them 
short-lived  and  naming*  themselves  successors  to  some  one  of  the  more 
important  dynasties  that  had.  preceded  them. 

Under  one  of  these,  the  Posterior  Chou,  during  the  reign  of  the 
Emperor  Shih-tsung  (95d  to  959),  a celebrated  porcelain,  far  superior  to 
an}r  yet  produced,  was  manufactured  in  the  district  of  Pien,  the  present 
department  of  K’aifeng,  in  Honan  province.  It  is  described  as  being 
sky-blue  in  color,  of  brilliant  surface,  thin  as  paper,  and  giving  out  a 
clear  musical  sound  when  struck,  the  only  defect  being  that  the  base 
was  apt  to  be  disfigured  by  the  remains  of  the  coarse  sand  on  which  the 
vessel  had  rested  in  the  furnace,  and  which  had  become  attached  to  it 
during  the  process  of  baking.  The  color  was  adopted  in  obedience  to 
an  imperial  order  that  porcelain  intended  for  palace  use  should  thence- 
forward be  4 4 as  blue  as  the  clear  sky  after  rain.  ” This  porcelain,  which 
was  consequent^  termed  Yu-yao , 4 4 Imperial  porcelain,”  and,  after  the 
accession  of  the  succeeding  dynasty,  Cfcai-yaoS'QY&i  porcelain”  (Ch4ai 
being  the  Emperor’s  family  name),  was  very  highly  prized,  and  becom- 
ing in  subsequent  years,  owing  to  its  delicate  make,  exceedingly  rare, 
the  smallest  fragments  were  treasured  as  cap  ornaments  or  necklace 
pendants.  Porcelain,  blue  in  color  and  with  the  characters  44  blue  as 
the  clear  sky  after  rain  ” stamped  in  the  glaze,  is  at  the  present  time  to 
be  obtained  in  China.  It  is  scarcely  necessary  to  state,  however,  that 
such  specimens  do  not  date  from  the  time  of  Shih-tsung;  on  the  contrary, 
they  are  of  quite  modern  manufacture.  Already  in  the  sixteenth  cen- 

1 Du  Sartel,  Porcelaine  Chinoise,  p.  33. 

2Florio,  in  his  Italian  dictionary  (1598),  gives  “ Porcellana,  a kinde  of  fine  earth 
called  Porcelane,  whereof  they  make  fine  China  dishes  called  Porcellan  dishes.  China, 
a Venus  basin,”  i.  e.,  a Venice  basin.  It  may  remain  a question  whether  Majolica, 
exported  by  way  of  Venice,  was  called  China  from  a supposed  resemblance  to  oriental 
porcelain,  or  whether  the  wares  alluded  to  by  Florio  were  in  fact  oriental.  Minsheu, 
in  his  Spanish  dictionary  (1599),  gives  “ Porcellana , a kinde  of  earthen  vessel  1 painted; 
costly  fruit  dishes  of  fine  earth,  painted  ” — quoted  in  Marryat’s  History^of  Pottery 
and  Porcelain,  p.  242. 


CERAMIC  ART  IN  CHINA. 


319 


tury  Hsiang  Tzu-ching  writes  in  the  preface  to  his  catalogue,  “In  the 
present  day  men  search  for  a fragment  of  this  porcelain  without  being 
able  to  find  one,  and  declare  it  to  be  but  a phantom.'71 

EARLIEST  PORCELAIN  EXTANT  DATES  FROM  SUNG  DYNASTY. 

In  truth,  the  description  which  has  been  attempted  of  the  varieties 
of  porcelain  hitherto  enumerated  possesses  merely  a historical  interest. 
No  specimens  manufactured  prior  to  the  advent  of  the  Sung  dynasty 
have  survived  to  the  present  day,  and  even  of  the  Sung  productions  the 
finer  kinds  have  entirely  disappeared.  Such  specimens  as  have  weathered 
the  storms  and  dangers  of  the  subsequent  eight  centuries  are,  so  far  as 
I am  aware,  only  celadons  of  considerable  solidity — chiefly  Lungch4uan 
or  Chunchow  ware — or  small  pieces  of  no  great  fineness.  Three  cen- 
turies ago  even  the  finest  varieties  were  already  scarce,  as  is  evident 
from  a passage  in  the  P^ing  an  essay  on  flower-pots  and  flowers 

in  pots,  from  the  pen  of  Chang  Ch4ien-te,  an  author  who  wrote  near  the 
close  of  the  Ming  dynasty,  that  is,  about  the  beginning  of  the  seven- 
teenth century: 

In  ancient  times  no  vases  were  made  of  porcelain,  and  up  to  the  T‘ang  dynasty 
all  such  vessels  were  of  copper.  It  was  not  till  then  that  pottery  came  into  vogue. 
After  this  period  we  find  a large  number  of  classes  of  porcelain,  such  as  the  kinds 
known  as  Ch‘ai  (that  described  above),  Ju,  Kuan,  Ko,  Ting,  Lungch‘uan,  Chiinchou, 
Changsheng,  Wuni  (all  of  the  Sung  dynasty  period),  Hsuante,  and  Ch’enghua  (of  the 
Ming  dynasty).  Among  antiquities,  copper  articles  are  the  best;  of  porcelain,  the 
Ch‘ai  and  Ju  kinds,  though  the  best  of  all,  have  ceased  to  exist;  Kuan,  Ko,  Hsiian, 
and  Ting  porcelains  are  the  most  precious  curiosities  of  the  present  day;  whereas  the 
porcelains  called  Lungch‘uan  (the  heavy  old  celadons  of  modern  collectors),  Chun- 
chou,  Changsheng,  Wunie,  and  Ch’enghua  are  esteemed  as  objects  of  only  secondary 
value.” 1  2 

As  Chang  Ch4ieri-te  further  says  that  he  constantly  met  with  speci- 
mens of  Juchou  porcelain,  and  since  vases  of  that  ware  are  figured 
in  Hsiang  Tzu-ching’s  catalogue,  it  would  appear  that  this  highly 
esteemed  porcelain  must  have  disappeared  from  the  market  towards 
the  close  of  the  sixteenth  century.  It  is  curious,  too,  that  while  Chang 
Chfien-te  places  the  productions  of  the  Ch’enghua  period  (1465  to  148T) 
at  the  foot  of  the  list  of  porcelains  of  “only  secondary  value,”  the 
prices  paid  for  this  ware  within  a century  of  its  production  were  very 
high.  In  Hsiang  Tzii-ching’s  catalogue  the  price  paid  for  a tazza-shaped 
cup  is  stated  to  have  been  60  taels  (or  $90  gold);  and  of  two  miniature 
wine  cups  he  says,  44  these  are  choice  specimens  of  the  wine  cups  of 
this  celebrated  reign,  and  are  valued  at  100  taels  ($150  gold)  the  pair, 
yet  now  even  for  this  money  it  is  impossible  to  get  them.”3 

1 S.  W.  Bushell,  Chinese  Porcelain  before  the  Present  Dynasty,  p.  72. 

2F.  Hirth,  Ancient  Chinese  Porcelain,  p.  10. 

3S.  W.Bushell,  Chinese  Porcelain  before  the  Present  Dynasty,  No.  55,  59. 


320 


REPORT  OF  NATIONAL  MUSEUM,  1900. 


SUNG  DYNASTY,  960  TO  1259. 

The  porcelain  manufactured  under  this  d3uiasty  appears  to  have  far 
excelled  in  quality  and  delicacy  of  workmanship  all  that  preceded  it, 
the  Ch‘ai-yao  alone  perhaps  excepted.  The  shapes  and  ornamental 
decorations  appear  to  have  been  modeled,  as  a rule,  after  ancient 
bronzes,  figured  in  illustrated  catalogues  of  the  most  celebrated 
specimens  of  such  vessels  (as  the  Po-ku-t4u),  published  during  the 
Hsiian-ho  period,  1119  to  1125,  and  the  K‘ao-ku-t4u;  and  when  not 
modeled  after  such  ancient  designs,  the  vessel  took  the  form  of  some 
natural  object,  as  a tree  or  flower  or  of  some  animal,  real  or  imaginary. 
In  the  former  the  pattern  was  engraved  with  a pointed  style  in  the 
paste,  and  was  broken  here  and  there  by  lions’  or  dragons’  heads  in 
bold  relief,  with  an  elaboration  and  wealth  of  ornament  hitherto  un- 
dreamed of.  That  a remarkable  degree  of  proficiency  had  by  this  time 
been  obtained  in  the  ceramic  art  is  evident  from  the  descriptions  pre- 
served by  Hsiang  Tzu-ching  of  some  specimens  of  Tingchou  ware 
seen  by  him. 

(1)  A sacrificial  jar  in  the  form  of  an  elephant  from  an  ancient  bronze  design. 
The  body  forms  the  wine  vessel,  the  uplifted  trunk  the  spout,  a narrow  canopy  arch- 
ing over  the  saddle  the  handle,  to  which  is  attached  a round  cover  ornamented  with 
geometrical  and  spiral  scroll  borders  surmounted  by  a knot.  The  rope  girths  and 
ornamental  details  engraved  under  a white  glaze. 

(2)  A branched  pricket  candlestick — a slender  pillar  on  a solid  foliated  stand 
curves  at  the  top  to  end  in  a phoenix  head,  from  the  back  of  which  hangs  a ring  chain, 
which  suspends  the  stem  of  a lotus,  branching  into  three  flowers  to  hold  the  candles, 
which  are  shaded  by  a huge  overhanging  leaf.  Ornamented  with  engraving  under 
a pure  wnite  glaze. 

(3)  A jar  which  was  of  irregular  quadrangular  section,  carved  in  relief  after  an 
ancient  bronze  design,  with  lobes  on  the  body,  a scroll  border  below,  and  a band  of 
ornament  in  the  form  of  coiled  dragons  round  the  neck.  Loop  handles  terminating 
in  horned  heads  and  with  rings  hanging  from  them  project  from  the  neck.  Covered 
with  glaze  the  color  of  ripe  grapes,  transparent  and  of  a perfect  luster — a beautiful 
vase  to  hold  flowers  for  the  table.1 

INTRODUCTION  OF  COLORED  DECORATION. 

Prior  to  the  Sung  dynasty  the  external  color  of  all  porcelain  appears 
to  have  been  solely  determined  by  that  of  the  glaze,  and  to  have  been 
almost  entirely  monochrome.  In  a few  instances  vases  were  covered 
with  parti-colored  glazes,  which  were  apt  to  flow  into  one  another  in 
the  heat  of  the  kiln,  and  so  gave  rise  to  the  fortuitous  productions 
known  as  Yao-pien  (the  French  jlambes ),  articles  the  decoration  of 
which  changed  during  the  process  of  baking.”  The  Sung  porcelain 
was  essentially,  I believe,  of  the  same  character,  the  coloring  of  the 
article  produced  being  determined  only  by  the  kind  of  glaze  which 
was  spread  over  the  paste  or  biscuit. 


1S.  W.  Bushell,  Chinese  Porcelain  before  the  Present  Dynasty,  Nos.  33,  80,  18. 


CERAMIC  ART  IN  CHINA. 


321 


With  the  sole  exception  of  the  Nanfeng  ware,  and  a portion  of  that 
from  Linch’uan,  produced  during  the  Yuan  dynasty,  none  of  which 
seems  to  have  survived  to  the  present  day,  but  which  is  described  as 
having  been  decorated  with  flowers  coarsely  painted  under  the  glaze, 
1 can  find  nothing  in  the  works  of  Chinese  writers  on  this  subject  to 
justify  the  concession  of  a greater  antiquity  than  the  early  part  of  the 
Ming  dynasty— that  is,  the  first  half  of  the  fifteenth  century — to  the 
ornamentation  of  vases  with  arabesques  and  scroll  work,  with  land- 
scapes, historical  scenes,  or  genre  paintings  in  several  colors. 

This  conclusion,  if  correct,  is  a point  of  considerable  importance  as  an 
aid  in  determining  the  true  age  of  specimens  which  are  at  times  credited 
with  an  origin  far  remote.  It  is  true  that  celadon  vases,  into  the  orna- 
mentation of  which  leaves  enter,  are  sometimes  described  as  having  the 
leaves  veined  with  dark  green,  but  these  deeper  shades  may  result  from 
the  fact  that  the  ornamentation  has  been  engraved  in  the  paste,  and 
that  the  coloring  matter  has  sunk  into  the  line  of  engraving,  thereby 
producing  a darker  shade  along  the  lower  levels.  Other  specimens  of 
celadon  ware  had  one  or  sometimes  two  bands  of  ornamentation  of  a 
deeper  green  than  the  body  of  the  vase.  This  deeper  tone  might, 
however,  have  been  produced  by  a double  layer  of  glaze;  in  any  case 
the  peculiarity  would  not  amount  to  ornamentation  in  several  colors 
in  the  sense  in  which  I use  that  expression.  Again,  the  single  speci- 
men of  black  Tingchou  porcelain  illustrated  (and  indeed  ever  seen)  by 
Hsiang  Tzu-ching  is  described  as  “a  duck-headed  vase,  bottle  shape, 
with  swelling  body  and  ringed  neck,  which  curves  over  to  end  in  a 
duck’s  head,  a round  orifice  with  a small  cover  being  on  the  convexity 
of  the  curve.  The  black  color  is  painted  on  the  head  and  neck,  gradu- 
ally fading  away  on  the  body  of  the  vase,  which  is  enamelled  white.”  1 
This  description  conveys  the  idea  that  the  head  and  neck  of  the  duck 
were  covered  with  black  glaze,  the  body  of  the  vase  with  white  glaze, 
and  that  in  the  baking  the  former  spread  downwards  and  gradually 
merged  into  the  white  of  the  body.  It  in  no  way  invalidates  the  con- 
clusion above  suggested. 

It  will  be  advisable  to  examine  in  greater  detail  the  several  varieties' 
of  porcelain  manufactured  under  this  dynasty,  following  the  order  of 
merit  usually  ascribed  to  them  by  Chinese  writers. 

JU-YAO. 

Ju-yao  or  Juchou  jiorcelain.- — Chinese  authors  state  that  the  porcelain 
manufactured  at  Tingchow  (see  p.  324),  being  unfit  for  presentation 
to  the  Emperor,  the  establishment  of  a factory  for  the  manufacture  of 
more  suitable  articles  was  ordered  at  Juchow,  in  Honan  Province. 
According  to  some  writers  the  defect  of  the  Tingchou  ware  was  its 


1 S.  W.  Bushel  1,  Chinese  Porcelain  before  the  Present  Dynasty,  No.  35. 


322 


REPORT  OF  NATIONAL  MUSEUM,  1900. 


gritty  character;  according  to  others,  the  frequency  of  cracks  caused 
by  too  rapid  or  careless  baking.  As,  however,  they  agree  in  ascribing 
the  introduction  of  Ju-yao  and  its  success  to  the  early  part  of  the  Sung 
dynasty — that  is,  to  the  very  time  from  which  date  the  finest  specimens 
of  the  Tingchou  porcelain— it  is  difficult  not  to  conclude  that  native 
authors, writing  centuries  later,  have  ascribed  the  establishment  of  this 
factory  to  erroneous  causes. 

The  finest  specimens,  which  were  very  thin  and  delicate,  were  supe- 
rior to  imperial  ware  (. Kuan-yao ),  and  were  of  either  plain  or  crackled  1 
surface,  with  the  ornamentation  engraved  under  the  paste.  The 
craquelure , though  coarse  in  inferior  specimens,  must  in  the  better 
grades  have  been  very  close  and  fine,  as  it  is  described  as  resembling 
fishroe.  But  that  not  crackled  was  the  most  highly  esteemed.  Hsiang 
Tzii’-ching,  describing  a beaker  of  old  bronze  design  with  engraved 
decoration  under  a bluish-green  color  not  crackled,  speaks  of  it  as 
“a  rare  kind  of  Juchou  ware.”  In  color  it  was  celadon.  In  one 
place  this  porcelain  is  described,  it  is  true,  as  being  like  the  sk}^  after 
rain,  but  as  elsewhere  it  is  stated  to  have  resembled  the  Ko-yao , or 

Crackling  ( craquelure ) was  originally  considered  in  Europe  a defect  of  baking, 
which  resulted  from  a lack  of  homogeneity  between  paste  and  glaze,  causing  one  to 
contract  more  rapidly  than  did  the  other.  It  was  not  till  a comparatively  recent  date 
that  the  actual  facts  came  to  be  appreciated,  namely,  that  in  the  eyes  of  the  Chinese 
the  craquelure  is  a species  of  decoration,  and  that  they  have  a special  kind  of  en- 
amel, into  the  composition  of  which  steatite  enters  largely,  the  sole  object  of  which 
is  to  produce  this  curious  appearance.  By  means  of  this  enamel  they  can  at  will 
cover  the  surface  of  a vase  With  any  one  of  a variety  of  craquelure,  either  large 
“like  cracks  in  iced’  or  small  as  “ the  fish  roe,  ’ ’ “the  dodder,”  or  “the  crabs’  claws.” 
In  some  specimens  bands  are  found  crackled  separating  other  bands  not  crackled ; or 
colors,  usually  either  black  or  red,  are  rubbed  into  the  crackling  to  render  it  more 
apparent,  or  to  impart  a tinge  to  the  entire  surface.  In  other  specimens  again, 
though  for  what  reason  is  not  known,  the  paste,  after  having  been  decorated,  is  cov- 
ered with  a crackled  glaze,  and  a second  decoration,  having  no  apparent  connection 
with  that  beneath,  is  painted  above  the  glaze.  The  colors  of  the  Juchou,  govern- 
ment {Kuan),  Ko,  Lungch‘uan  and  Chunchou  porcelains  were  all  some  shade  of 
what  the  Chinese  .call  chling.  Now  chling  means  in  some  combinations  blue,  in  others 
a pale  dull  green,  as  of  the  fresh  olive,  which  is  called  by  the  Chinese  chling-kuo,  the 

mgr  colored  fruit.  Pere  d’Entrecolles,  when  writing  of  the  Lungch‘uan  ware, 
describes  its  color  correctly  as  teinte  d’  olive.  M.  Julien,  however,  in  spite  of  a hint- 
given  from  the  technical  annotator  M.  Salvetat,  which  might  have  set  him  right, 
rejected  this  sense  on  what  seemed  to  him  sufficient  grounds,  and  insisted  on  (errone- 
ously) translating  this  word  throughout  his  work  as  “blue,”  though  by  so  doing  he 
had  to  make  his  porcelain  “as  blue  as  [green]  jade  ” — with  the  result  that  subsequent 
writers  on  this  subject  have  failed  to  derive  any  assistance  from  his  work  in  deter- 
mining the  origin  and  history  of  celadon  porcelain.  Hirth,  Ancient  Chinese  Porce- 
lain, p.  7. 

Celadon  was  originally  the  name  of  the  hero  in  the  popular  novel  V Astree,  written 
by  Honore  d’Urfe  in  the  seventeenth  century.  Celadon  was  attired  in  clothes  of  a 
kind  of  sea-green  hue  with  gray  or  bluish  tint,  and  his  name  thus  came  to  be  applied 
to  the  clothes  he  wore,  precisely  that  designated  by  the  Chinese  as  chhng. 


CERAMIC  ART  IN  CHINA. 


323 


crackled  celadons,  in  color,  though  somewhat  darker  in  shade,  there 
seems  no  reason  to  doubt  that  its  real  tint  was  bluish-green — that  is, 
celadon — especialty  as  the  specimens  of  this  ware  illustrated  in  the  cat- 
alogue translated  by  Doctor  Bushell  are  so  painted.1  Hsiang  Tzu4- 
ching,  the  author  of  this  catalogue,  after  describing  a vase  6£  inches 
high,  which  is  stated  to  have  cost  150,000  cash,  or  about  $150  gold, 
says,  u Specimens  of  Juchou  ware  are  very  rare,  and,  when  met  with, 
are  usually  plates  and  bowls.  A perfect  unbroken  vase  like  this  is 
almost  unique,  and  as  it  excels  Kuan  and  Ko  porcelain  both  in  form 
and  glaze,  it  is  far  more  valuable.”  Within  three  or  four  decades 
later,  as  has  already  been  stated,  it  seems  to  have  been  impossible  to 
find  any  specimens  at  all  of  this  ware. 

KUAN-YAO. 

Kuan-yao — that  is,  official  or  Government  porcelain — was  the  produce 
of  the  imperial  factories  established  under  the  Sung  dynasty  between  the 
years  1107  and  1117  at  Pienliang,  the  present  department  of  K4aifeng, 
in  Honan  province,  and  after  the  removal  southwards  of  the  court 
before  the  advancing  Mongols,  at  the  southern  capital,  Hangchou,  in 
Chehkiang  province.  During  the  Takuan  period  (1107  to  1110)  the 
shades  specially  affected  were,  first,  pale  white  like  the  moon,  the 
Drench  clair  delune;  second,  pale  bluish -green;  and  third,  dark  green; 
but  during  the  Chingho  period  (1111  to  1117)  the  only  color  employed 
was  bluish-green,  both  dark  and  pale  in  tint.  This  porcelain  was  very 
thin,  and  in  some  cases  crackled  all  over  so  finely  as  to  resemble  crab’s 
claws,  wdth  the  red  brim  and  iron-colored  foot  distinctive  of  the  true 
celadon.  The  Po-wu-ycio-lan , quoted  in  the  Kao-shuo ’ Treatise  on 
Pottery  (chap.  2,  p.  9),  explains  this  latter  expression  as  follows: 

As  regards  Kuan-yao , it  should  be  known  that  the  porcelain  earth  found  at  the  foot 
of  the  Fenghuang-shan,  or  Phoenix  hill,  near  Hangchou,  is  red;  for  this  reason  the 
foot  (the  base  on  which  the  vessel  rests  when  being  fired,  and  which  is  therefore  not 
covered  by  the  enamel),  resembles  iron  in  color.  This  was  at  the  time  called  “red- 
mouthed and  iron-footed.  ’ ’ The  term  * ‘ red  mouth  ’ ’ refers  to  the  brim  or  opening  of 
the  vessel,  which  becomes  red  by  the  enamel  flowing  down  and  away  from  it,  so  ash} 
be  much  thinner  on  the  brim  than  it  is  on  the  body  of  the  vessel,  thus  allowing  spots 
of  red  paste  to  become  visible. 

Doctor  Hirth,  after  quoting  this  explanation,  adds: 

The  red  or  iron  colored  bottom,  usually  appearing  in  the  shape  of  a ring,  is  a char- 
acteristic feature  of  the  LungclPuan  celadons;  but  if  the  above  explanation  is  cor- 
rect, the  bottom  of  LungchYian  vessels  differed  from  Kuan-yao  bottoms,  since  the 
paste  of  Hangchou  celadons  (the  southern  Kuan-yao ) is  said  to  be  red  in  itself, 
whereas  that  of  the  Lungch ‘‘iian-yao  is  originally  white,  and  merely  turns  red  in  such 
parts  of  the  surface  as  are  not  covered  by  the  enamel.2 

1 S.  Julien,  L’Histoire  et  la  Fabrication  de  la  Porcelaine  Chinoise,  p.  63.  S.  W. 
Bushell,  Chinese  Porcelain  before  the  Present  Dynasty,  Nos.  19,  22,  34. 

2 F.  Hirth,  Ancient  Chinese  Porcelain. 


324 


REPORT  OF  NATIONAL  MUSEUM,  1900. 

From  Hsiang  Tzu-ching’s  catalogue  it  would  seem  as  if  there  were 
originally  two  recognized  classes  of  this  ware — ordinary  Kuan-yao  and 
Ta-huan , or  superior  Kuan-yao.  Among  the  latter  he  mentions  an 
ink  slab  for  the  Emperor’s  use,  in  which  “an  oval  wTas  left  unglazed  in 
the  center  for  rubbing  the  ink  on,  showing  theu*ed  paste.”  Both  were 
celadon  in  color;  in  the  superior  variety  {ta-Jcuan) , however,  the  glaze 
appears  to  have  been  more  brilliant — it  is  described  as  “clear  and  lus- 
trous, like  an  emerald  in  tint.”  The  two  specimens  of  this  ware  de- 
scribed were  both  coarsely  crackled.  The  ordinary  Kuan-yao  was  in 
some  cases  crackled  with  a glaze  varying  from  pale  green  to  deep  onion; 
in  other  specimens  uncrackled,  the  latter  being  seemingly  of  a lighter 
tint  than  the  crackled;  the  ornamentation,  consisting  of  a variety  of 
scroll  designs  or  of  some  geometrical  patterns  broken  by  animals’ 
heads  in  relief,  was  engraved  under  the  glaze.1 

After  the  court  had  been  removed  south  to  Hangchou,  Shao  Ch4eng- 
chang,  superintendent  of  the  Northern  Imperial  Park,  is  said  to  have 
established  a factoiy  in  the  residence  of  the  junior  director  of  the 
palace.  Made  of  very  pure  clay,  with  great  grace  of  form  and  covered 
with  a transparent,  brilliant  glaze,  this  porcelain,  which  was  termed 
Nei-yao  porcelain  of  the  palace  or  Kuan-yao — Government  porcelain — 
gained  a high  reputation. 

TING-YAO. 

Ting-yao , or  porcelain  of  Tingchow,  was  manufactured  originally  in 
the  district  of  that  name  in  Chihli  province,  near  the  present  depart- 
ment of  Chengting.  It  was  known  as  Pei-ting  or  Northern  Ting* 
(960-1126),  in  contradistinction  to  the  Nan-ting  or  Southern  Ting,  pro- 
duced at  Hangchow  after  the  retreat  of  the  court  southward  before 
the  advancing  Mongols  in  1127.  The  former  was  the  more  highly 
prized,  and  the  finest  specimens  of  this  ware  were  those  produced,  it  is 
said,  during  the  period  Chengho  (1111  to  1117)  and  Hsuanho  (1119  to 
1125).  In  color  they  were  brilliant  white,  purple,  or  black;  and  though 
the  Ko-hu-yao-lan  (a  work  treating  of  antiquities,  completed  in  1387),  as 
quoted  in  the  Pao-shuo , or  Treatise  on  Porcelain,  from  which  the  au- 
thors translated  by  M.  Julien  derive  most  of  their  information  regarding 
the  ceramics  of  earlier  dynasties,  gives  as  the  test  of  Tingchow  porce- 
lain “the  purity  of  its  white  color  and  brillancy  of  its  glaze,”  it  is  evi- 
dent that  the  connoisseur  Hsiang  Tzu-ching  experienced  a stronger 
affection  for  his  “beautiful  purple  glaze,  uniformly  brilliant  and  trans- 
parent, resembling  the  tint  of  ripe  grapes  or  of  the  aubergine  (egg- 
plant)” and  his  black,  than  he  did  for  the  white  glaze,  though  it  were, 
in  his  own  words,  “ uniformly  lustrous  and  translucent,  like  mutton-fat 
or  fine  jade.”  Both  the  purple  and  black  varieties  were  far  rarer  than 

TS.  W.  Bushell,  Chinese  Porcelain  before  the  Present  Dynasty,  Nos.  2,  5,  8,  13,  15, 
17,  47,  50,  53,  73. 


CERAMIC  ART  IN  CHINA. 


325 


the  white.  u I have  seen.”  says  the  collector,  u hundreds  of  specimens 
of  the  white,  scores  of  purple-brown,  but  the  black  is  extremely  rare, 
and  I have  only  seen  the  one  specimen  I have  described  in  liiy  whole 
life” — and  he  then  had  in  his  possession  at  least  one  of  the  specimens 
more  than  fifty  years.  It  is,  I think,  in  this  rarity  of  the  purple  and 
black  glazes  that  the  explanation  of  the  dictum  above  quoted  is  to  be 
found,  and  probably  the}7  were  unknown  to  its  authors.  The  varieties 
mentioned  in  the  Ko-ku-yao-lan  as  inferior  to  the  white  do  not  include 
these  colors,  and  seem  to  result  from  impure  clay  or  defective  glaze. 

The  same  work  (the  Ko-ku-yao-lan)  says  that  one  of  the  signs  of  the 
genuineness  of  this  ware  was  the  presence  of  marks  on  it  like  tears. 
This  probably  means  granulations,  for  it  is  explained  that  these  marks 
were  caused  by  the  manner  in  which  the  enamel  was  thrown  upon  the 
white  paste.  Specimens  having  ornamental  designs  engraved  in  the 
paste  were  the  best,  though  the  plain  or  unornamented  were  also  highly 
esteemed;  the  second  class  consisted  of  such  as  had  the  ornamentation 
worked  into  the  enamel,  and  a third  of  such  as  had  the  decoration 
printed  or  pressed  upon  them  with  a mold,  the  ornaments  chiefly  used 
being  the  Chinese  peony  or  Poeonia  moutan , the  hsuan-ts'ao  or  Ileinero- 
callisfulva , and  the  Hying  f eng huang  (Phoenix).  In  Hsiang  Tzu-ching's 
catalogue,  however,  eleven  specimens,  all  undoubtedly  of  the  finest 
quality — six  of  the  white  glaze,  four  of  the  purple,  and  one  of  the 
black — are  described,  into  the  ornamentation  of  no  one  of  which  enters 
either  of  these  so-called  u usual”  patterns;  the  decoration  in  every  case 
is  in  general  character  exactly  similar  to  that  found  on  the  Juchow 
ware  already  described. 

Tingchow  ware  was  well  imitated  during  the  Yuan  dynasty  (1260  to 
1367)  by  one  P4eng  Chiin-pao  at  Hochow,  in  Kiangnan  province,  and 
later  on  very  successfully  at  Chingte-chen.1  His  productions,  known 
as  P‘eng  porcelain,  after  himself,  and  Ho  porcelain,  from  the  locality, 
are  described  as  u fine  in  paste  and  white  in  color,  looking  very  much 
like  real  Ting-yaoP 

lungch‘uan. 

LungcPuan-yao  (Lungchfiian  porcelain)  was  manufactured  from  the 
early  part  of  the  Sung  dynasty  (end  of  tenth  or  beginning  of  eleventh 
century)  in  the  district  of  that  name,  situated  in  the  department  of 
Chfiichow,  Chehkiang  province.  The  ornamentation  was  engraved 
under  the  glaze,  which  was  of  various  shades  from  the  color  of  grass  to 
deep  onion-green,  sometimes  crackled  and  sometimes  not  crackled;  and 
occasionally  bands  of  foliate  or  scroll  pattern  are  found  of  deeper  tone 
than  the  rest  of  the  vessel.  The  biscuit,  which  was  of  fine  clay,  turned 
brown  when  the  absence  of  glaze  had  exposed  it  to  the  effect  of  heat 


aS.  Julien,  L’Histoire  et  la  Fabrication  de  la  Porceiaine  Ohinoise,  pp.  21,  61.  F. 
Hirth,  Ancient  Chinese  Porcelain,  pp.  13  et  seq. 


326 


REPORT  OF  NATIONAL  MUSEUM,  1900. 


during  baking,  though  when  covered  by  the  glaze  and  in  fractures  it 
remained  white,  and  on  the  base  or  foot  was  a ferruginous  ring.  The 
specimens  which  survive  are  mostly  coarse  and  thick,  but  as  the  best 
examples  were  considered  but  little  inferior  to  Kuan-yao , these  prob- 
ably represent  only  the  rougher  and  inferior  grades.  In  the  designs  no 
little  artistic  merit  is  shown  at  times.  One  specimen  which  is  described 
b}r  Hsiang  Tzu-ching  (and  I have  myself  seen  one  exactly  similar) 
consists  of  a whorl  of  palm  leaves  surrounding  a hollow  stem  to  hold 
flowers.  Another  is  u a sacrificial  urn  moulded  in  the  form  of  a horn- 
less rhinoceros,  the  body  hollowed  out  to  hold  wine,  with  a peaked 
saddle  on  the  back  as  cover,  after  a bronze  design  from  the  Po-hu-Cu 
encyclopaedia. ” The  author  translated  b}^  M.  Julien  says  that  this 
ware  was  subsequently  successfully  imitated  at  Chingte-chen,  and  that 
the  latter  surpassed  the  originals  in  beauty.  Doctor  Hirth,  however, 
avers  on  the  authority  of  native  connoisseurs  that  the  pure  Lungchbian 
products  can  be  distinguished  from  all  imitations;  first,  because  it  is 
a peculiarity  of  the  clay  used  in  the  manufacture  of  the  former  alone 
to  turn  brown  or  red  on  the  surface  when  left  exposed  during  baking, 
wbiile  the  biscuit  remains  white  where  covered;  and,  secondly,  because, 
owing  to  this  peculiarity  of  the  clay,  the  ferruginous  ring  on  articles 
of  white  porcelain  manufactured  elsewhere  can  only  be  produced  by 
artificially  coloring  the  foot  or  base;  an  act  which,  of  course,  admits  of 
ready  detection  on  the  part  of  an  experienced  collector.1 

KO-YAO  OR  CHANG-YAO. 

Subsequently,  after  the  removal  of  the  court  southward  in  1127, 
according  to  an  authority  quoted  in  the  Topography  of  the  Chehkiang* 
province,  the  brothers  Chang,  natives  of  Ch  bichow,  but  having  their 
factory  in  the  Lungch‘uan  district,  gained  a high  reputation  for  their 
porcelain.  These  brothers  are  known  as  Sheng-i,  the  elder-born,  and 
Sheng-erh,  the  second-born.  The  produce  of  the  former’s  kiln  was 
called  Ko-yao , or  elder-brother’s  porcelain,  to  distinguish  it  from  that 
manufactured  by  the  younger  Chang,  which  was  termed  Chang-yao  or 
Chang  Lung cPuanyao,  i.  e.,  Lungchbian  porcelain  made  by  Chang  (the 
younger).  Both  are  celadon  in  color,  though  the  elder  brother’s  ware 
appears  to  have  been  lighter  in  tint,  and  both  have  the  distinctive  marks 
of  celadon,  the  red  mouth  or  opening  and  ferruginous  ring  on  the  foot. 
The  main  difference  between  the  two  seems  to  have  been  that  the  Ko-yao 
was  crackled — so  closely  in  the  best  specimens  as  to  resemble  the  fish- 
roe — -whereas  the  Chang-yao  was  uncrackled.  In  other  respects  the 
descriptions  are  curiously  conflicting.  The  history  of  the  Chingte- 
chen  factory  says  that  Ko-yao  was  extremely  thin,  while  the  I Vu-ts^a- 
tsu , a work  of  the  Ming  dynasty,  speaks  of  it  as  the  one  kind  of  por- 

1 S.  Julien,  L’Histoire  et  la  Fabrication  de  la  Porcelaine  Chinoise,  p.  69.  F.  Hirth, 
Ancient  Chinese  Porcelain,  pp.  31  et  seq.  S.  W.  Bushell,  Chinese  Porcelain  before 
the  Present  Dynasty.  Nos.  12,  16,  23,  25-27,  29,  32,  36,  67,  77. 


CERAMIC  ART  IN  CHINA. 


827 


cekin  of  this  epoch  44  of  which  it  is  not  too  difficult  to  obtain  specimens, 
owing  to  its  peculiar  heaviness,  which  enables  it  to  last  long.”  As 
compared  with  the  more  ancient  porcelain  of  Lungchffian,  the  produc- 
tions of  the  two  Chang  are  described  as  4 4 smaller,  more  graceful  in 
shape,  and  showing  greater  delicacy  of  workmanship.”1 

CHUN-YAO. 

The  Chun-yao  was  a porcelain  made  from  the  early  part  of  the  Sung 
dynasty,  in  the  district  of  Chunchow  or  sometimes  wrongly  correspond- 
ing to  the  present  district  of  Yu-chow,  in  the  department  of  K4 * *aifeng, 
Honan  province.  It  was  sometimes  molded  in  grotesque  forms  (as  a 
lamp  formed  of  a hornless  dragon  with  scaly  body  and  four  short  legs, 
the  serpent-like  head  protruding  with  mouth  open  to  receive  the  wick 
and  body  hollowed  into  a receptacle  for  oil),  but  was  usually  modeled 
after  ancient  bronzes  and  ornamented  with  scroll  or  floral  patterns  under 
the  glaze,  which,  according  to  Hsiang  Tzu-ching,  was  either  vermilion- 
red  or  aubergine  purple  — the  two  most  valuable  colors — moonlight 
white  (chair  de  lune)  or  pale  green,  and  sometimes  marked  with  granula- 
tions. The  authorities  quoted  in  the  Pao-shuo,  or  Treatise  on  Pottery, 
would  lead  one  to  believe  that  the  best  pieces  had  two  or  more  colors 
of  glaze  on  the  same  vase.  The  higher  qualit}7,  according  to  them,  con- 
sisted of  pieces  having  a color  red  like  cinnabar  and  green  like  onion 
leaves  and  kingfisher’s  feathers,  which  is  commonly  called  parrot-green, 
and  aubergine  purple,  or  of  pieces  red  like  rouge,  green  like  onion  leaves 
and  kingfisher’s  feathers,  and  purple  like  ink;  these  three  colors  being 
intact  and  unchanged  by  baking.  Mo  Julien  enumerates  seven  varie- 
ties: (1)  green  or  blue  like  plums;  (2)  purple-brown  like  the  auberg- 
ine; (3)  red  like  the  Pyrus  japonica;  (4)  pig’s  liver;  (5)  mule’s  lungs; 
(6)  mucus;  (7)  sky-blue.  But  such  differentiation  appears  erroneous, 
for  the  Treatise  on  Pottery  says: 

Pieces  that  have  one  or  two  numbers  on  the  bottom  as  a trade-mark,  and  are  of  a 
color  resembling  pig’s  liver — since  the  red,  chling  (celadon),  and  green  colors  got 
mixed  together  like  saliva  hanging  down  through  not  being  sufficiently  fired — are 
not  to  be  distinguished  as  different  kinds;  for  such  names  as  mucus  or  pig’s  liver, 
which  are  given  to  this  class  of  porcelain,  have  been  invented  for  fun’s  sake.  Among 
these  porcelains  those  which  have  bottoms  like  the  flower  pots  in  which  sword  grass 
is  grown  are  considered  the  most  excellent;  the  others,  namely,  those  which  have 
ton-shaped  censers,  Ho-fang  jugs,  or  Kuan-tzu,  are  all  of  a yellowish  sandy  paste, 
for  which  reason  they  are  not  good  in  appearance.2 * 

1S.  Julien,  L’Histoire  et  la  Fabrication  de  la  Porcelaine  Chinoise,  pp.  xxvi,  70. 
F.  Hirth,  Ancient  Chinese  Porcelain,  pp.  31,  et  seq.  S.  W.  Bushell,  Chinese  Porcelain 
before  .the  Present  Dynasty,  No.  11. 

2 The  translation  followed  is  Doctor  Hirth’ s,  but  the  sense  is  better  brought  out  by 

Doctor  Busheli’s  more  correct  rendering,  which  runs  thus:  “Among  these  porcelains 

the  flower  pots  and  saucers  for  growing  sword  grass  are  the  most  beautiful,  the  others, 

namely,  the  barrel  seats,  censers  and  boxes,  square  vases  and  jars  with  covers,”  etc. 

(North  China  Herald,  12th  May,  1888.)  The  words  here  rendered,  “the  flower 


328 


REPORT  OF  NATIONAL  MUSEUM,  1900. 


The  same  authority  adds  that  none  of  these  porcelains  lasted  long. 
Specimens  are,  however,  I believe,  still  to  be  found.  Hsiang  Tzu- 
ching,  after  describing  a small  jar,  of  globular  form,  with  two  boldly 
designed  phoenixes  molded  in  high  relief  as  handles,  interrupting  a 
border  of  spirally  ornamented  medallions,  adds: 

Chiinchow  porcelain  is  put  at  the  bottom  of  the  Sung  potteries,  yet  a jar  like  this 
one,  of  elegant  form,  good  color,  and  fine  engraved  work,  equals,  if  not  excels,  as  a 
flower  vase,  one  of  Ju,  Kuan,  Ko,  or  Ting  pottery.  It  is  marked  beneath  with  the 
numeral  wu,  five,  an  additional  proof  that  it  is  really  a Chun  piece.* 1 

tung-ch4ing-yao. 

Tung-ch^ng-yao , or  celadon  porcelain,  from  the  eastern  capital,  was 
produced  at  factories  situated  in  the  department  of  K4aifeng,  Honan 
province,  the  so-called  eastern  capital  of  the  Sung  monarchs,  before 
their  retreat  southward,  from  960  to  1126.  It  was  of  various  shades 
of  celadon,  uncrackled  (seemingly),  with  the  ornamentation  engraved 
under  the  glaze.  The  description  given  by  Hsiang  Tzu-ching  of  a 
small  vessel  of  this  ware  will  convey  a truer  idea  of  its  character  than 
the  vague  disquisition  of  the  er^clopsedists. 

“It  is  of  hexagonal  form,  with  lobed  border,  decorated  in  panels, 
with  formal  sprays  of  flowers,  plum  blossoms,  polyporus  fungus,  and 
grass,  chrysanthemum,  bamboo,  etc.,  carved  in  relief  under  a glaze  of 
bright  green  color  like  jade,  raised  in  faint  millet-like  tubercles.”2 

LESS  CELEBRATED  VARIETIES. 

in  addition  to  the  above  celebrated  productions  of  the  Sung  dynasty, 
the  following  less  remarkable  varieties  may  be  mentioned: 

The  Hsiao-yao , from  the  Hsiao  district,  in  the  department  of  Hsuchou, 
Kiangnan  province,  extremely  thin  and  brilliant,  white  in  color, 
and  very  elegant  in  shape  and  workmanship. 

The  Chichow-yao , from  the  district  of  that  name,  corresponding  with 
the  present  Luling  district,  in  the  department  of  Chi-an,  Kiangnan 
province;  both  white  and  violet,  the  latter  closely  resembling  the 

pots  and  saucers  for  growing  sword  grass,”  are  translated  by  M.  Julien  “les  plats 
sous  le  pied  desquels  on  a peint  un  glaieul.”  This  misconception  of  the  meaning 
has,  as  Doctor  Hirth  points  out,  led  astray  all  later  writers  on  porcelain  and  its  marks, 
who  have  thus  been  led  by  Julien  into  describing  the  acorus  as  a mark,  when  found 
on  the  foot  of  a vessel  of  its  being  a Kiun  (Chlin)  piece  of  the  finest  quality.  Doctor 
Hirth  also  draws  attention  to  the  fact  that  the  expression  tlu-ssu-iven,  translated 
by  Julien  when  treating  of  one  class  of  this  porcelain  as  showing  “veines  imitant  les 
soies  (poils)  du  lievre,”  really  means  showing  veining  like  the  cuscuta  or  dodder — 
1‘u-ssu  being  the  name  of  that  plant. 

1 S.  W.  Bushell,  Chinese  Porcelain  before  the  Present  Dynasty,  No.  20,  30,  41,  79. 
S.  Julien,  L’Histoire  et  la  Fabrication  de  la  Porcelaine  Chinoise,  pp.  74,  75.  F.  Hirth 
Ancient  Chinese  Porcelain,  pp.  16,  17. 

2S.  Julien,  op.  cit. , pp.  67-69;  S.  W.  Bushell,  op.  cit. , No.  70. 


CERAMIC  ART  IN  CHINA. 


329 


violet  porcelain  of  Tingchow.  The  best  was  made  by  the  famil}- 
Shu;  that  produced  by  the  daughter,  Shu  Chiao,  realizing  almost  as 
much  as  Ko-yao  (the  elder  Chang’s  porcelain).  Her  large  vases  for 
holding  flowers  would  fetch  several  ounces  of  silver  each.  Regard- 
ing the  violet  variety,  the  technical  annotator  of  M.  Julien’s  work 
adds  the  following  note:  “II  est  probable  que  ces  porcelaines  vio- 
lettes  etaient  fabriquees  a l’etat  de  biscuit,  et  colorees  ensuite  avec 
un  email  plombeux  colore  par  le  manganese.  Cette  consideration 
reporterait  a Pannee  960  de  notre  ere  les  glagures  plombiferes;  ce 
n’est  qu’en  1283  qu’un  potier  de  Schlestadt  trouva  le  procede  de 
vernir  la  poterie  au  moyen  du  plomb,  et  put  creer  une  fabrication 
veritablement  industrielle.  ” 

The  Ilsiuchow-yao  and  Ssuchow-yao , from  the  districts  respectively  of 
the  same  name  in  the  Kiangnan  province.  They  resembled  the 
(white?)  Tingchow  porcelain,  but  were  far  inferior  in  quality. 
The  Yang-yi-yao  and  Tengchow-yao , manufactured  in  the  T‘ang  and 
Tengchow  districts  of  the  department  of  Nayang,  Honan  province — 
both  celadon,  but,  like  the  next,  inferior  to  Juchow  ware. 

The  Yaochow-yao , from  the  district  of  that  name  in  the  department  of 
Hsi-an,  Shansi  province.  They  were  originally  celadon,  but  vases 
of  white  porcelain,  possessed  of  considerable  merit,  though  lacking- 
in  grace  and  strength,  were  subsequently  produced. 

The  Wuni-yao,  from  the  department  of  Chienning,  Fukien  province— a 
celadon  made  from  black  coarse  clay,  lacking  in  polish  and  with 
dry  looking  glaze. 

The  Chien-yao , from  the  department  of  Chienchow,  the  present  district 
of  Chienyang,  in  the  department  of  Chienning,  Fukien  province- 
thin,  of  pale  black  color  and  of  high  polish,  it  was  highly  esteemed; 
some  specimens  were  studded  with  granulations  resembling  drops 
or  yellow  pearls. 

The  Yuhang-yao , from  the  Yiihang  district,  in  the  department  of 
Hangchow,  Chehkiang  province — a kind  of  celadon,  resembling 
Kuan-yao,  but  inferior,  possessing  neither  the  same  crackle  nor 
brilliancy. 

The  lishui-yao , from  Lishui  district,  in  the  department  of  ClYuchow, 
Chehkiang  province — heavy  and  thick,  resembling  in  color  the 
LungclTuan  (that  is,  celadon)  ware,  but  far  inferior  to  it.1 

YUAN  DYNASTY,  1260  TO  1349. 

Under  the  Mongol  dynasty,  the  Yuan  (1260  to  1349),  the  manufac 
ture  of  porcelain  generally  appears  to  have  retrograded.  Exceptions, 
however,  must  at  least  be  made  in  favor  of  that  produced  for  the 
special  use  of  the  Emperor.  This  ware — to  judge  from  the  specimens 


1S.  Julien,  L’histoire  et  la  Fabrication  de  la  Porcelaine  Chinoise,  pp.  12-21- 
NAT  MUS  1900 24 


330 


REPORT  OF  NATIONAL  MUSEUM,  1900. 


described  by  Hsiang  Tzii-ching — was  white  in  color,  with  the  orna- 
mentation faintly  engraved  in  the  paste.  Plates,  bowls,  etc.,  are  said 
to  have  borne  the  characters  shu-.fu , “the  palace,”  inscribed  on  the 
interior  on  the  foot.  Hsiang  Tzu-ching1  says  that  this  shu-fu  porce- 
lain was  copied  from  the  Tingchow  ware  of  the  Northern  Sung 
dynasty,  and  the  vase  in  his  own  collection  he  considers  altogether 
like  a Ting  piece  in  its  form,  in  the  color  of  the  paste,  and  in  the 
engraved  design. 

The  details  given  by  native  writers  regarding  the  productions  of 
this  period  are  scanty  in  the  extreme.  They  mention,  however,  that 
at  Lungch4uan  celadons  were  produced  on  the  model  of  the  Chang 
ware,  but  the  clay  used  was  coarse  and  dry,  and  failed  to  give  the  fine 
color  which  had  characterized  the  older  productions. 

At  Ho-chow,  in  the  Kiangnan  province,  F4eng  Chun-pao  produced, 
as  already  stated,  some  excellent  porcelain,  known  as  New  Ting-yao 
and  from  the  name  of  the  district  in  which  it  was  produced,  Ho-yao  or 
ware  of  Ho,  and  closely  resembling  the  older  ware  from  Tingchow. 
Made  from  fine,  white,  plastic  clay,  it  was  very  thin  and  celadon  in 
color.  Other  varieties  mentioned  are: 

The  Ssuanchow-yao , from  the  department  of  that  name  in  Kiangnan 
province,  very  thin  and  white  in  color. 

The  Lincfruan-yao,  from  the  district  of  that  name  in  the  department 
of  Fuchow,  Kiangsi  province,  was  a porcelain  made  from  soft 
white  clay.  It  was  thin,  and  generally  white,  with  a light  yellow 
tinge;  but  some  bore  flowers  coarsely  painted. 

The  Nanfeng-yao , from  the  district  of  that  name  in  the  department  of 
Chienchang,  Kiangsi  province,  was  a somewhat  thick  porcelain, 
in  many  cases  ornamented  with  flowers  in  blue.  These  two  latter 
kinds  appear  to  have  been  very  famous  under  the  Yuan  dynasty, 
and  to  have  been  ‘much  preferred  to  the  productions  of  Chingte- 
chen. 

The  Hutfien-yao,  manufactured  in  the  neighborhood  of  Chingte-chen, 
was  either  a yellowish-black,  or,  if  white,  had  a tint  of  that  color.2 

No  specimens  of  these  wares  have,  however,  so  far  as  I am  aware, 
survived  to  the  present  day,  and  among  those  which  Chinese  connois- 
seurs now  declare  to  be  red  products  of  the  Yuan  dynasty  one  seldom 
sees  any  but  such  as  are  of  a uniform  whitish  purple  with  deep  red 
splashes. 

MING  DYNASTY,  1368  TO  1649. 

Under  the  Ming  dynasty  the  ceramic  art  made  great  progress,  both 
in  the  fineness  of  the  ware  and  in  the  excellence  of  the  decorative 
workmanship.  It  would  appear  that  under  the  Yuan  dynasty  imperial 

1 S.  W.  Bushell,  Chinese  Porcelain  before  the  Present  Dynasty,  No.  21. 

2S.  Julien,  L’Historie  et  la  Fabrication  de  la  Porcelaine  Chinoise,  pp.  23,  24,  86. 


CERAMIC  ART  IN  CHINA. 


331 


orders  were  not  invariably  executed  at  the  government  factories,  but 
were  frequently  intrusted  to  private  enterprise.  None,  however,  of 
the  articles  tendered  was  accepted  unless  considered  perfect,  and  the 
test  was  so  severe  that  as  much  as  90  per  cent  was  at  times  rejected. 
Under  the  Ming  dynasty,  however,  the  manufacture  appears  to  have 
been  more  and  more  restricted  to  the  Chingte-chen  factories,  which 
thenceforward  practically  monopolized  the  production  of  artistic  por- 
celain. The  administration  was  reformed,  and  officers  were  dispatched 
from  the  capital  with  the  orders,  the  execution  of  which  they  had  to 
superintend,  and  on  completion  to  deliver  to  the  palace — duties  which, 
like  most  others  of  emolument  and  dignity,  were  absorbed  by  eunuchs 
during  the  reigns  of  the  last  emperors  of  that  dynasty. 

In  their  paintings,  which  are  always  in  water  color,  the  Chinese, 
while  of  course  requiring  on  the  artist’s  part  a knowledge  of  the  tech- 
nique adequate  to  a proper  treatment  of  the  subject  chosen,  admire 
chiefly  a boldness  of  stroke  which  proves  complete  mastery  over  the 
pencil,  and  a facility  of  conception  which  permits  of  improvisation,  so 
to  speak;  that  is,  of  the  elaboration  of  the  original  design  currente 
calamo , and  without  having  previous^7  outlined  a sketch  of  it  upon  the 
object  to  be  decorated.  This  style  of  painting  is  termed  pi-i,  “ follow- 
ing the  will  of  the  brush.”  An  artist  who  first  sketches  out  his  design 
and  then  carefully  and  elaborately  fills  in  the  details,  a style  which  is 
depreciatingly  termed  kung-i , ‘‘mechanical,”  occupies  in  their  estima- 
tion a very  subordinate  position.  And  the  characteristics  of  the  two 
styles  are  so  clearly  defined,  or  at  least  are  so  patent  to  the  practiced 
native  eye,  that  a single  glance  almost  suffices  to  enable  a connoisseur 
to  determine  to  which  of  the  two  a painting  belongs. 

In  a country,  too,  where  painting  as  a profession  does  not  exist,  and 
where  the  interchange  of  fans  or  scrolls  painted  by  the  donors,  as  one 
of  the  most  ordinary  forms  of  courtesy,  generates,  if  not  a profound 
knowledge  of  the  art,  at  least  a very  general  practical  proficiency  in 
it,  it  has  resulted  that  the  most  noted  artists  are  to  be  found  among  the 
class  enjoying  the  most  leisure — that  formed  of  the  successful  competi- 
tors in  the  literary  examinations  which  constitute  the  one  entry  to  offi- 
cial employment.  In  this  way  the  more  highly  esteemed  stjde  of  paint- 
ing, with  its  bold  free  stroke,  came  to  be  considered  (as  indeed  it  prac- 
tically was)  the  almost  exclusive  production  of  the  literary  or  official 
class.  Hence  when,  during  the  Cbdenghua  period,  the  decoration  of 
porcelain  in  many  colors  came  to  be  that  most  highly  prized,  it  became 
customary  to  have  the  designs  drawn  b}7  the  most  celebrated  artists 
among  the  palace  officials  and  to  transmit  them  to  the  manufactory  to 
be  there  executed  by  the  most  skilled  painters. 

Owing  to  the  care  thus  exercised  in  obtaining  decorative  designs  from 
the  brushes  of  the  best  artists  and  in  having  them  executed  by  the  most 
able  workmen,  the  manufacture  reached  a higher  point  of  excellence 


332 


REPORT  OF  NATIONAL  MUSEUM,  1900. 


during  this  (the  Clffenghua)  period  than  at  any  other  time  during  the 
Ming  dynasty,  and  the  steps  of  development  which  led  to  this  result 
may  be  distinctly  traced. 

As  has  been  remarked  earlier,  decoration  by  painting  in  colors  as  dis- 
tinct from  the  general  coloring  imparted  by  glaze  was,  I believe,  first 
reached  under  the  Ming  dynasty.  In  the  Yunglo  period  (1403  to  1424) 
it  took  the  form  of  decoration  in  blue  under  the  glaze.  Special  atten- 
tion was  paid  to  this  style  during  the  Hsiiante  period  (1426  to  1435), 
and  owing  probably  to  the  adoption  of  a special  kind  of  foreign  blue 
(known  in  Chinese  as  Su-ni-po , which  appears  to  have  been  obtainable 
during  this  period  alone),  a brilliancy  of  color  was  attained  which  was 
never  afterwards  quite  equaled.  At  the  same  time,  however,  a brilliant 
red  color  attracted  universal  admiration.  At  first  this  was  used  by  itself 
either  as  a uniform  coloring  over  the  outside  of  bowls  and  cups,  or  for 
the  delineation  of  fishes  or  peaches  upon  the  white  ground,  the  contrast 
of  the  two  colors,  both  striking  in  brilliancy,  being  highly  admired. 
Then  a form  was  adopted  which,  while  it  gave  due  prominence  to  the 
highly  prized  crimson,  admitted  of  the  introduction  of  other  colors  in 
a subordinate  capacity,  such  as  vessels  in  the  shape  of  persimmons 
( Diospyros  kaki)  on  a leafy  branch  forming  the  handle,  the  fruit  being 
red,  and  the  leaves  and  stalk  of  their  natural  colors,  green  of  various 
shades  and  brown  respectively.  From  this  form  of  decoration  it 
required  but  a step  to  reach  the  use  of  the  enamel  colors  for  which 
the  CITenghua  period  (1465  to  1487)  is  famous. 

The  use  of  enamel  colors  continued  during  the  Hungchih  period  (1488 
to  1505),  some  of  the  specimens  being  scarcely  inferior  to  the  best 
pieces  of  ClYenghua  ware,  but  gradually  gave  way  in  public  favor  to 
a pale  yellow  glaze  covering  an  ornamentation  engraved  in  the  paste. 
This  was  also  the  most  highly  esteemed  production  of  the  Clffengte 
period  (1506  to  1521);  though  the  efforts  to  obtain  further  supplies  of 
blue  from  the  west  being  crowned  with  success,  a revival  in  favor  of 
Ublue  and  white”  china  took  place  during  this  and  especially  the  fol- 
lowing reign  till  the  supply  was  once  more  exhausted. 

Peculation,  misgovernment  and  its  attendant  disorders,  and  an 
increasing  difficulty  in  finding  the  finer  qualities  of  clay  combined  to 
cause  a steady  decline  from  this  period  onward  in  the  artistic  excellence 
of  the  porcelain  produced.  The  rapidity  of  the  downward  course  was  con- 
siderably accelerated  by  the  enormous  extent  of  the  imperial  orders 
for  the  supply  of  the  palace,  which,  sometimes  aggregating  100,000 
pairs  of  articles  on  a single  occasion,  taxed  the  resources  of  the  gov- 
ernment factories  beyond  their  strength,  with  the  result  that,  in  order 
to  economize  money  and  labor,  colors  which  were  expensive  or  difficult 
to  procure  were  replaced  by  others  less  costly  and  more  simple  in 
their  ingredients,  and  artistic  beauty  and  excellence  of  workmanship 
were  sacrificed  to  promptness  in  providing  the  supplies  ordered.  It 
is  the  gradual  dispersion  of  the  articles  comprised  in  the  vast  orders 


CERAMIC  ART  IN  CHINA. 


333 


issued  during  the  Lungchfing  (1567  to  1572)  and  Wanli  (1573  to  1619) 
periods  that  has  provided  the  bulk  of  the  specimens  in  the  possession 
of  modern  collectors  of  what  has  come  to  be  considered  (though,  in  view 
of  the  much  higher  artistic  merit  of  the  ware  produced  under  earlier 
emperors,  very  unfairly  considered)  the  characteristic  Ming  porcelain, 
porcelain  somewhat  coarse  in  make,  faulty  in  shape,  and  decorated 
with  paintings  which,  though  characterized  by  boldness  of  design,  are 
usually  marked  by  want  of  care  in  execution. 

While,  however,  the  work  of  the  government  factories  showed  these 
unmistakable  signs  of  decadence,  strenuous  efforts  were  made  by  a 
few  isolated  private  manufacturers  to  raise  the  art  to  its  earlier  level 
of  excellence.  The  imitations  by  Chou  Tan-ch4uan  of  the  beautiful 
old  Tingchow  ware,  and  the  cups  of  Hao  Shih-chi  of  a “dewy-dawn 
red”  and  of  eggshell  (the  latter  at  times  only  weighing  one-fortieth 
of  an  ounce  apiece),  are  spoken  of  in  terms  of  the  highest  admiration, 
and  brought  fabulous  prices.  But  though  these  efforts  were,  if  the 
statements  of  Chinese  writers  can  be  relied  upon,  crowned  with  com- 
plete success,  so  far  as  the  artist’s  individual  productions  were  con- 
cerned, they  were  inadequate  to  prevent  the  downward  tendency 
exerted  by  the  government  establishments  at  Chingte-chen,  which  had 
alread}^  for  a long  while  almost  monopolized  the  production  of  porce- 
lain in  China. 

During  the  remainder  of  the  period  that  the  Ming  dynasty  held  the 
throne  its  energies  were  so  much  occupied  in  endeavoring  to  suppress 
internal  disorder  and  in  resisting  the  attacks  of  the  Manchu  Tartars 
on  its  northern  frontiers  that  no  attention  was  paid  to  the  ceramic  art. 

From  1403  to  1424. 

During  the  Yunglo  period  (1403  to  1424)  much  white  porcelain,  with 
ornamentation  in  blue  under  the  glaze,  commonly  known  in  Europe  as 
“blue  and  white  china,”  was  manufactured,  which  holds  third  place  in 
regard  to  excellence  among  this  class  of  ware  produced  during  the 
Ming  dynasty,  that  of  the  Hsliante  period  (1426  to  1435)  occupying  the 
first  and  that  of  the  CITenghua  period  (1465  to  1487)  the  second  place. 
The  blue  employed  is  said,  in  the  annals  of  Fouliang,  to  have  been 
brought  from  some  Mohammedan  country  as  tribute,  and  was  thence 
known  as  Mohammedan  blue.  During  the  Yunglo  and  Hsiiante  periods 
it  was  termed  Su-mct-li  or  Su-ma-ni  blue,  and  during  the  latter  Su-ni-po 
also.  Where  this  bhre  came  from  and  whether  these  Chinese  designa- 
tions are  the  reproductions  of  the  name  of  a country  or  of  a color  has 
never  been  determined.  Doctor  Hirth,  while  pointing  out  the  resem- 
blance of  the  former  in  sound  to  smalt  (mediaeval  Latin  smaltum. ),  and 
of  the  latter  to  Schneeberg,  “under  which  name  the  Saxon  blue  after- 
wards became  famous  all  over  the  world,” 1 thinks  a search  into  Arabian 


1 F.  Hirth,  Ancient  Chinese  Porcelain,  p.  65. 


334 


REPORT  OF  NATIONAL  MUSEUM,  1900. 


or  Persian  records  of  that  day  may  yet  supply  the  missing  explanation. 
Whatever  it  was,  the  supply  was  exhausted  during  the  Ch‘enghua 
period.  Somewhat  later,  however  (during  the  Chengte  period,  1506  to 
1521),  Tatang,  the  governor  of  Yunnan  province,  succeeded  in  obtain- 
ing further  supplies  of  Mohammedan  blue  by  paying  for  it  twice  its 
weight  in  gold;  and  during  this  and  the  greater  part  of  the  subsequent 
reign  (Chiaehing  period,  1522  to  1566)  it  continued  available — a fact  to 
which  is  doubtless  attributable  the  excellent  color  of  the  productions 
of  that  time.  Towards  the  close  of  the  latter  reign,  however,  the  sup- 
ply again  gave  out,  when  an  incinerated  cobaltiferous  ore  of  manga- 
nese (termed  wu-ming-i)  replaced  the  western  product;  the  color 
obtained  from  this  native  ore,  far  from  equaling  the  brightness  and 
transparency  of  the  foreign  blue,  however,  showed  a dull  and  heavy  tint 
after  baking. 

EGGSHELL  PORCELAIN. 

Eggshell  porcelain  of  very  delicate  workmanship  was  produced,  but 
owing  to  its  extreme  fragility  good  specimens  are  now  difficult  to 
obtain.  It  appears  also  to  have  had  a tendency  to  crack  during  the 
process  of  firing.  These  porcelains  are  termed  among  the  Chinese 
tfo-tfai,  or  porcelain  from  which  the  “ embryo”  or  biscuit  has  been 
removed,  and  are  divided  into  two  classes:  “True  t'o-t'ai”  the  very 
thin,  also  known  as  eggshell  ( ian-p^i  or  luan-mu ),  and  “semi 
the  somewhat  thicker.  The  true  tfo-tfcii  especially  present  great  diffi- 
culties in  the  manufacture  and  require  extraordinary  dexterity  in  the 
handling,  for  so  thin  is  the  portion  of  the  body  the  workman  allows  to 
remain  that  it  seems  as  though  all  had  been  removed;  and  it  is  only 
quite  recently  that  the  Government  manufactory  at  Sevres  has  succeeded 
in  producing  such  porcelain,  and  then  by  an  entirely  different  process — 
by  casting  or  moulage  en  oarbotine. 

The  work  translated  by  M.  J ulien  states  that  while  the  production  of 
this  ware  originated  during  the  Yunglo  period,  it  was  only  the  thicker 
variety  that  was  then  made,  and  that  the  true  tfo-tfai  dates  from  a later 
epoch,  having  been  produced  during  the  Ch‘enghua  period  (1465  to  1487) 
at  the  government  manufactory  and  during  the  Lungchfing  (1567  to  1572) 
and  Wanli  (1573  to  1619)  periods  at  private  factories.  This  statement 
appears,  however,  to  be  erroneous;  for  in  No.  295  of  this  collection  will 
be  found  a specimen,  so  at  least  Chinese  experts  state,  of  the  semi 
(though  it  seems  difficult  to  believe  that  a bowl  of  such  size  could  be 
made  much  thinner  and  yet  be  of  practical  utility),  and  in  Nos.  289  to 
294  specimens  of  the  true  tfo-tfai,  both  having  the  inscription  Yung-lo- 
nien-chih , “Made  during  the  Yunglo  period,”  engraved  in  the  old  seal 
character  on  its  foot.  Moreover,  the  one  specimen  of  this  ware  described 
by  Hsiang  Tzu-ching  is  a small  cup  “as  thin  as  paper,”  called  fo-Vai, 
“body  less,  ”i.  e.,  true  fo-frai^not  semi  tfo-tfai,  of  which  he  says  “there 


CERAMIC  ART  IN  CHINA. 


335 


are  not  a few  of  these  wine  cups  left,  yet  they  are  highly  appreciated 
by  collectors  of  taste.”  1 Specimens  of  the  Ch4enghua  eggshell  will  be 
found  in  Nos.  296  to  303. 

In  spite  of  the  extreme  thinness  of  this  ware,  many  specimens — such 
as  Nos.  289  to  294,  already  referred  to — are  adorned  with  very  elabo- 
rate designs  engraved  under  the  glaze  (an  operation  requiring  excep- 
tional delicacy  of  workmanship),  which  are  scarcely  visible  unless  the 
vessel  be  held  against  the  light  or  be  tilled  with  liquid.  These  speci- 
mens possess  additional  interest  from  the  fact  that  they  enable  us  to 
picture  to  ourselves  what  the  porcelain  manufactured  for  the  special 
use  of  the  palace  under  the  Yuan  dynasty  (the  Shu-fu)  and  the  Ting- 
chow  ware  of  the  Sung  dynasty  were  like;  though,  of  course,  these 
latter  had  not  the  thinness  and  delicacy  of  the  eggshell  porcelain. 
For  Hsiang  Tzu-ching,  after  describing  a specimen  of  Shu-fu  porce- 
lain decorated  with  dragons  in  the  midst  of  clouds  and  with  lion’s  head 
handles,  all  faintly  engraved  in  the  paste  under  a white  glaze,  states 
that  u the  porcelain  of  our  own  dynasty  (the  Ming)  of  the  reigns  of 
Yunglo  and  Hsuante,  decorated  with  patterns  engraved  under  a white 
glaze,  was  made  after  this  Shu-fu  porcelain,  which  was  itself  copied 
from  the  Tingchou  porcelain  of  the  northern  Sung  dynasty.”  2 

. From  1426  to  1435. 

Among  the  porcelain  manufactured  during  the  Hsuante  period  (1426 
to  1435),  that  covered  with  crimson  glaze  or  bearing  designs  in  that 
color  holds  the  highest  place  in  the  eyes  of  Chinese  connoisseurs.  44  It 
truly  stands  preeminent  among  the  celebrated  porcelains  of  different 
dynasties,  a precious  jewel  of  our  own  times,”  saj^s  Hsiang  Tzu-ching. 
Some  of  the  descriptions  left  by  this  author  are  worth  reproducing.  (1) 
An  incense  burner  from  an  old  bronze  design.  4 4 The  upper  two-thirds  of 
the  bod}^  and  the  handles,  which  are  molded  in  the  form  of  fish,  are 
covered  with  a deep  red  glaze  of  rosy  dawn  tint,  the  lower  part 
enameled  white,  pure  as  driven  snow,  the  two  colors  mingling  in  a 
curved  line,  dazzling  the  eyes.”  (2)  A wine  pot  (6^  inches  high),  copied 
from  a similar  vessel  of  carved  jade  used  by  the  emperor.  44  The  body, 
slender  below,  swelling  towards  the  top,  is  decorated  with  engraved 
cloud  scrolls  and  bands  of  geometrical  and  spiral  pattern,  with  conical 
cover,  spirally  curved  handle,  and  spout  moulded  and  engraved  in  the 
form  of  a phoenix  head,  all  covered  with  deep-red  ( chi  hung)  glaze.  ” It 
is  said  to  have  cost  the  owner  200  ingots  of  silver  in  paper  notes,  a 
sum  Doctor  Bushell  estimates  to  be  equivalent  to  about  <£600. 

Another  style  of  decoration  much  esteemed  at  the  time  for  open 
vessels  was  4 4 three  red  fish  on  a white  ground  pure  as  driven  snow, 
the  fish  boldly  outlined  and  red  as  fresh  blood,  of  a brilliant  color 

1 S.  W.  Bushell,  Chinese  Porcelain  before  the  Present  Dynasty,  No.  61. 

2 Idem,  No.  2L 


336 


REPORT  OF  NATIONAL  MUSEUM,  1900. 


dazzling  the  eyes.”  Occasionally  these  fish  would  be  represented  on 
the  outside  swimming  on  waves  engraved  in  the  paste,  with  two  more 
on  the  inside.  Though  no  less  than  four  vessels  so  decorated  are 
described  by  Hsiang  Tzu-ching,  they  are  stated  to  have  been  even 
then  4 ‘precious  specimens  of  this  rare  kind  of  porcelain” — they  are 
certainly  so  now. 

A rarer  kind  of  decoration  still  was  three  pairs  of  peaches  in  red  on 
a white  ground — of  these  “onlv  two  or  three  were  then  known  to 
exist  within  the  four  seas,”  that  is,  the  Empire. 

A still  rarer  decoration,  found  on  a wine  cup,  is  described  as  “the 
white  ground  decorated  inside  and  outside  with  cloud  scrolls  engraved 
in  the  paste,  a scroll  border  above  colored  crimson:  the  handle  a 
dragon  of  bold  design  moulded  in  high  relief  coiled  round  the  top, 
with  teeth  and  four  claws  fixed  in  the  rim,  enamelled  vermilion  red.” 
(Vessels  with  a dragon  moulded  in  relief  upon  the  brim  are,  it  may  be 
added,  always  highly  esteemed  by  the  Chinese  when  intact,  partly 
because  of  the  artistic  ability  required  to  successfully  execute  the 
design,  and  partly  because  old  specimens  are  seldom  met  with  undam- 
aged.) “Only  one  or  two  of  these  beautiful  little  cups  remain 
throughout  the  Empire,  and  100  taels  ($150  gold)  is  not  considered  too 
much  to  pay  for  a specimen.”  Hsiang  Tzu-ching  states  that  the  bril- 
liancy of  this  crimson  glaze  was  obtained  by  the  addition  of  powdered 
red  gems  from  the  west  to  the  ordinary  materials.  Doctor  Bushel], 
commenting  upon  this  statement,  says  “this  is  impossible,  and  the 
colors  being  painted  on  under  the  glaze  shows  it  to  have  been  a copper 
silicate,  the  same  doubtless  that  gave  the  bright  red  ( hsien  hung ) to 
the  monochromes  of  the  period.”1  M.  Julien  states  that  among  the 
colors  for  porcelain  painting  brought  from  China  by  M.  Itier  (an 
employe  in  the  ministry  of  finance,  who  accompanied  the  French 
ambassador  to  that  country)  and  presented  in  1844  to  the  manufactory 
at  Sevres,  was  one  named pao-shih-hung , “precious  stone  red,”  which 
when  analyzed  by  M.  Salvetat  proved  to  be  merely  “oxyde  de  fer 
avec  du  fondant.”2 

A decoration  first  met  with  in  the  productions  of  this  period  is 
obtained  by  the  entire  excision  of  a delicate  pattern,  by  some  sharp 
instrument,  from  the  biscuit  of  which  the  cup  or  bowl  is  formed. 
When  the  vessel  is  dipped  in  the  glaze,  the  latter  fills  up  the  excised 
open  work  with  a thin  film  sufficiently  thick  after  baking  to  retain  the 
liquid  in  the  cup,  though  so  thin  that  the  pattern  is  thrown  out  as  a 
transparency  upon  the  more  opaque  body.  This  decoration  is  com 
monly  known  among  English  collectors  as  “lace-work,”  and  the 
French  term  pieces  so  decorated  reticules. 


1 S.  W.  Bushell,  Chinese  Porcelain  before  the  Present  Dynasty,  Nos.  6,  10,  40,  54, 
56,  58,  60,  69,  71,  and  p.  117. 

2S.  Julien,  L’Histoire  et  la  Fabrication  de  la  Porcelaine  Chinoise,  p.  91. 


CERAMIC  ART  IN  CHINA. 


337 


From  1465  to  1487. 

During  the  CITenghua  period  (1465  to  1487)  the  production  of  porce- 
lain bearing  a blue  decoration  under  the  glaze  continued,  but  owing 
chiefly  to  the  fact  that  the  supply  of  Su-ni-j?o  blue  from  abroad  was 
exhausted  and  partly  from  the  growing  preference  for  ornamentation 
in  enamel  colors,  this  ware  was  inferior  in  color  to  that  of  the  Hsiiante 
period;  and  it  is  for  the  decoration  in  enamel  colors  that  this  period  is 
chiefly  and  justly  famous. 

One  authority  states  that  among  the  productions  of  this  period  are 
the  most  beautiful  of  wine  cups,  the  upper  part  of  which  is  adorned 
with  a Chinese  peony  (. Poeonia  moutan)  and  having  at  the  base  a hen  and 
chickens  full  of  life  and  movement.1  Hsiang  Tzu-ching  thus  describes 
a pair: 

They  are  of  rounded  form,  swelling  below,  so  thin  and  delicate  that  one  weighs 
less  than  a third  of  an  ounce.  The  cockcombs,  narcissus,  and  other  flowers,  the  fly- 
ing dragon  fly  and  crawling  mantis,  painted  after  life,  in  green,  yellow,  and  crimson 
enamel.  These  are  choice  specimens  of  the  wine  cups  of  this  celebrated  reign,  and 
are  valued  at  100  taels  [say  $150]  the  pair,  yet  now  even  for  this  money  it  is  Impos- 
sible to  get  them.2 

Another  miniature  wine  cup  described  by  him  is  said  to  have  been 
purchased  for  60  ounces  of  silver  ($90),  while  a pair  in  the  possession 
of  one  of  the  high  officers  of  the  court  under  the  Emperor  Wanli  is 
said  by  another  writer  to  have  been  valued  at  1,000  ounces,  or  $1,500. 
Whatever  may  be  thought  of  the  last  statement,  the  prices  mentioned 
by  Hsiang  Tzu-ching  are  fully  confirmed  by  contemporary  writers. 
The  Treatise  on  Pottery  (the  T'ao-sliuo)  quotes  from  a work  written 
towards  the  end  of  the  Ming  dynasty  as  follows: 

On  the  days  of  new  moon  and  of  full  moon  1 often  went,  while  at  the  capital,  to 
the  fair  at  the  Buddist  temple  Tz‘u-en-ssu,  where  rich  men  thronged  to  look  at  the 
old  porcelain  bowls  exhibited  there.  Plain  white  cups  of  Wanli  porcelain  were  sev- 
eral ounces  of  silver  each,  those  with  the  marks  of  Hsiiante  and  Ch‘enghua  were 
twice  as  much  more,  up  to  the  tiny  cups  decorated  with  fighting  cocks,  which  could 
not  be  bought  for  less  than  a hundred  ounces  of  the  purest  silver,  pottery  being 
valued  far  more  highly  than  precious  jade.3 

From  the  time  of  the  Emperor  Wanli  it  was  the  endeavor  of  every 
man  of  taste,  whose  wealth  could  support  such  a strain,  to  set  wine  cups 
of  ClFenghua  ware  before  his  guests.  Considering  how  many  pieces  of 
this  choice  porcelain  must  have  been  thus  sacrificed,  it  is  not  surprising 
that  it  is  almost  impossible  to  procure  specimens  at  the  present  day — 
nearly  three  hundred  years  after  they  were  selling  at  twelve  times 
their  weight  in  gold — though  Doctor  Bushell  states  that  “one  may  be 
occasionally  seen  in  a Chinese  collection  preserved  in  an  ebony  box 


1 S.  Julien,  L’Histoire  et  la  Fabrication  de  la  Porcelaine  Chinoise,  p.  94. 

2 S.  W.  Bushell,  Chinese  Porcelain  before  the  Present  Dynasty,  No.  59. 

3 Quoted  by  Bushell,  p.  98. 


338 


REPORT  OF  NATIONAL  MUSEUM,  1900. 


softly  lined  with  padded  silk.”  Four  specimens  of  these  cups  are  con 
tained  in  the  collection — Nos.  300  to  303. 

From  this  period  also  are  supposed  to  date  many  of  the  large  vases 
which  form  so  prominent  a feature  in  the  European  collections,  dec- 
orated with  historical  scenes,  in  the  coloring  of  which  green  plays  so 
large  a part,  and  which  have  in  consequence  been  termed  by  French 
writers  “la  famille  verte.”  They  are  really,  however,  more  modern. 
“The  finest,”  as  Doctor  Bushell  truly  remarks,  “belong  to  the  reign 
of  K‘anghsi,  so  that  one  of  a pair  is  often  found  with  a Ming  mark 
beneath,  the  other  with  a censer,  flower,  or  other  emblem  (of  the 
K?anghsi  period);  yet  some  connoisseurs  pride  themselves  on  being- 
able  to  distinguish  the  genuine  Ming  in  this  class  from  the  false,  con- 
fessing, however,  that  it  is  a difficult  matter.”1 

This  period  is  also  noted  for  its  eggshell  porcelain.  It  was  not, 
however,  invented  at  this  time,  but,  as  we  have  already  shown,  first 
manufactured  during  the  Yunglo  period.  The  four  small  plates  of 
this  ware  (Nos.  296  to  299)  are  worthy  of  special  note,  not  only  for 
their  extreme  thinness  and  transparency,  but  for  the  very  unusual  style 
of  their  decoration — landscapes  in  enamel  colors  above  the  glaze. 

From  1488  to  1505. 

During  the  succeeding  period  (Hungchih,  1488  to  1505),  while  enamel 
colors  were  still  used,  a very  pale  yellow  glaze  of  the  color  of  a newly 
husked  chestnut  was  the  tint  most  highly  prized,  the  two  kinds  of 
decoration  being  at  times  combined.  If  the  uniform  yellow  glaze  was 
employed,  ornamentation  would  be  at  times  engraved  in  the  paste  or 
molded  in  relief  beneath  it.  So  little  is  said  regarding  the  ware  of 
this  period  by  Chinese  authors  that  it  is  worth  while  recording  the 
descriptions  of  two  choice  specimens  given  by  Hsiang  Tzii-ching: 
(1)  A wine  pot  “molded  in  the  form  of  a gourd  contracted  in  the  mid- 
dle, the  brown  stalk  forming  the  handle  of  the  cover,  a winding  branch 
the  tapering  handle,  from  which  spring  green  tendrils  and  leaves 
and  a miniature  gourd,  all  worked  in  relief  in  the  yellow  body,  a second 
miniature  gourd  being  fashioned  into  the  spout.  Light  yellow  was 
the  color  most  highly  valued  in  this  reign,  but  enamelling  in  color  was 
also  employed,  as  in  this  piece,  which  reminds  one  of  the  porcelain  of 
the  reign  of  Ch4enghua;  ” (2)  a teacup  “in  the  form  of  a hibiscus  flower, 
covered  outside  with  a delicate  yellow  glaze  imitating  the  natural  tint 
of  the  flower;  white  inside.  I have  seen  many  specimens  of  Hungchih 
porcelain,  but  nothing  to  surpass  these  little  cups.”2 

1 S.  W.  Bushell,  Chinese  Porcelain  before  the  Present  Dynasty,  p.  99. 

2 Idem,  Nos.  7,  42,  46,  66. 


CERAMIC  ART  IK  CHINA. 


339 


From  1506  to  1521. 

During  the  Chengte  period  (1506  to  1521),  so  far  as  the  meager  de  - 
tails chronicled  allow  us  to  judge,  while  decoration  in  enamel  colors 
continued  and  the  successful  endeavors  of  the  governor  of  Yunnan  to 
obtain  further  supplies  of  Mohammedan  blue  caused  attention  to  be 
again  turned  to  the  production  of  porcelain  ornamented  with  designs 
in  blue  under  the  glaze,  the  ware  most  highly  prized  was  that  covered 
with  a yellow  glaze,  introduced  under  the  previous  reign,  over  patterns 
engraved  in  the  paste,  and  a red  monochrome  termed  chi-hung.  This 
term  appears  to  have  included  two  shades — one  the  jMO-shih-hung , or 
u precious-stone  red”  already  discussed  under  the  Hsuante  period, 
(p.  335),  and  the  hsien-hung , a bright  red,  produced  by  a silicate  of 
copper.  This  color,  the  Chinese  records  state,  could  not  be  success- 
fully produced  subsequent  to  this  period  under  the  Ming  dynasty, 
owing  seemingly  to  inability  to  maintain  a suitable  condition  of  atmos- 
phere in  the  kiln — a difficulty  explained  by  M.  Salvetat  thus: 

Si  l’atmosphere  du  four  est  trop  reductrice,  le  cuivre  passe  ad’etat  de  cuivre  metal- 
lique;  si  1’ atmosphere  du  four  est  trop  oxydante,  la  coloration  rouge  disparait  et  la 
couverte  devient  verdatre  ( Recueil  des  travaux  scientifiques  de  M.  Ebelmen,  Tome  I,  p. 
437) ; le  protoxyde  de  cuivre  seul  donne  un  silicate  d’une  couleur  rouge.1 2 

A curious  kind  of  earthenware  is  mentioned  by  Hsiang  Tzu-ching  as 
having  been  produced  in  the  Yi-hsing  district,  of  the  department  of 
Changehou,  Kiangsu  province,  by  a celebrated  pottei*  named  Kung 
Ch’un.  Teapots  of  this  ware  were  of  a light  brown  like  felt,  or  covered 
with  a vermilion-red  glaze.  In  either  case  the  color  is  said  to  have 
changed  to  a /bright  green  when  tea  was  poured  in,  and  to  have  gradu- 
ally reverted  to  its  original  color,  line  by  line,  as  the  liquid  was  poured 
out.  This  curious  peculiarity  is  said  to  have  been  merely  the  acci- 
dental result  of  some  change  effected  by  baking,  but  was  highly 
prized  by  collectors — 500  ounces  of  silver  ($750)  having  been  paid  for 
the  two  specimens  described  by  our  author.3 

From  1522  to  1566. 

During  the  Chiaching  period  (1522  to  1566)  the  yellow  glaze,  so  par- 
ticularly  affected  during  the  two  previous  reigns,  appears  to  have  been 
entirely,  and  decoration  in  enamel  colors  to  have  been  almost  entirely, 
abandoned,  the  old  style  of  ornamentation  in  blue  under  the  glaze 
being  chietty  admired,  till  the  supply  of  that  color  from  the  west  was 
again  exhausted  during  the  later  years  of  this  reign;  and  to  the  pres- 
ent day  the  u blue  and  white”  of  this  period  is  much  sought  after  by 
collectors.  Apart  from  this,  the  only  kind  of  ware  at  all  remarkable 

1S.  Julien,  L’Histoire  et  la  Fabrication  de  la  Porcelaine  Chinoise,  p.  97.  S.  W. 
Bushell,  Chinese  Porcelain  before  the  Present  Dynasty,  Nos.  52,  78. 

2S.  W.  Bushell,  Idem,  Nos.  44,  45. 


340 


REPORT  OF  NATIONAL  MUSEUM,  1900. 


mentioned  by  Chinese  writers  is  cups  intended  for  use  upon  the  palace 
altars,  and  hence  termed  Van-chan,  which  are  said  to  have  resembled 
white  jade  and  to  have  been  exceptionally  beautiful.  One  maker, 
named  Ts‘ui,  who  is  stated  to  have  lived  during  this  and  the  following 
reign,  is  however  mentioned  as  a successful  imitator  of  the  porcelain  of 
the  Hsiiante  and  ClPenghua  periods,  his  productions  being  known  as 
Ts‘ui-kung  yao-tz'u , “ Mr.  Tsffii’s  porcelain  ware.’51 

From  1567  to  1619. 

During  the  Lungchdng  (1567  to  1572)  and  Wanli  (1573  to  1619) 
periods  it  appears  to  have  been  difficult  to  obtain  supplies  of  good 
<qlay;  and  this  fact,  combined  with  the  increasing  disorder  throughout 
the  Empire  and  the  enormous  extent  of  the  supplies  ordered  for  palace 
use,  caused  a marked  deterioration  in  the  quality  of  the  ware  produced, 
though  the  workmanship  is  at  times  highly  spoken  of,  especially  in  the 
case  of  porcelain  decorated  in  enamel  colors — the  most  highly  prized 
having  marks  on  them  resembling  “millet  grains,”  or  a surface  marked 
as  with  the  pittings  on  orange  peel  (V apparance  chagrinee  d\me  peau 
(P  orange). 

While,  however,  the  productions  of  the  government  factories  were 
marked  by  an  ever-increasing  decadence,  serious  efforts  were  made  by 
private  producers  to  stay  the  downward  tendency,  and  two  individuals 
would  seem  to  have  won  for  themselves  and  their  ware  a very  high 
reputation.  Chou  Tan-ch‘uan,  a native  of  Wumen,  imitated  the  ancient 
masterpieces  of  Tinchow  porcelain  so  successfully  that  the  most  expert 
connoisseurs  failed,  it  is  said,  to  detect  the  fraud,  and  willingly  pur- 
chased them  at  such  enormous  sums  as  1,000  ounces  of  silver  each 
($1,500).  Another  maker,  of  unknown  origin,  but  whose  name  tradi- 
tion says  was  Hao  Shih-chiu,  made  cups  of  “liquid-dawn  tint,”  bright 
as  vermilion,  and  of  egg-shell  of  a beautiful  brilliant  white,  and  weigh- 
ing in  some  cases  only  just  over  half  a pennyweight,  or  about  one- 
fortieth  of  an  ounce,  for  which  extravagant  prices  were  paid.  This  all 
sounds,  however,  much  exaggerated.  Other  productions  of  his  were 
celadon  vases  resembling  Kuan-yao , or  the  elder  Chang’s  ware  (. Ko-yao ), 
except  that  they  were  not  crackled,  and  vases  of  a color  which  the 
French  term  feuille-morte,  or  fond  laque , a brown  or  coffee  tint,  derived 
from  ferruginous  clay.  This  artist  was  known  as  Hu-hung , “Mr. 
Pots,”  or  Ilu-yin-tgo-jen , “the  Taoist  hidden  in  a pot,”  apparently 
pseudonyms  adopted  b}T  him  in  allusion  to  an  old  legend  preserved  in 
the  Shen-hsien-chuan , an  ancient  work  on  Taoist  immortals,  and  signed 
his  jars  with  the  mark  Hu-yin-lao-yen , “the  old  man  hidden  in  the 
oot.”  According  to  the  legend,  Hu-kung,  the  Old  Man  of  the  Pot, 
was  a magician,  endowed  with  marvelous  powers  of  healing,  who  lived 


XS.  Julien,  L’Histoire  et  la  Fabrication  de  la  Porcelaine  Chinoise  pp.  97,  100. 


CERAMIC  ART  IN  CHINA. 


341 


during  the  third  and  fourth  centuries,  and  was  accustomed  to  distribute 
in  charity  the  vast  sums  he  received  in  payment  for  his  miraculous 
cures.  Ke  disappeared  each  night  from  mortal  view,  his  retreat 
remaining  a mystery  till  he  was  watched,  when  it  was  discovered  that 
the  leech  was  accustomed  to  withdraw  at  sunset  to  the  interior  of  a 
hollow  gourd  which  hung  from  a doorpost.  Julien  translated  these 
characters  as  le  meillard  on  qui  vit  dans  la  retraite / but,  says  Doctor 
Ilirth,  4 4 it  seems  to  me  that  these  four  characters  have  rather  an  epi- 
grammatic sense,  and  if  translated  into  Latin  would  be  among  the 
most  delicious  of  Martial’s  Apophoreta;  for  the  4 old  man,’  as  the  clever 
maker  styles  himself,  4 is  concealed  in  the  pot,’  like  the  fairy  Hu-kung^ 
was  in  his,  and  although  invisible,  he  himself — that  is,  his  inventive 
genius — is  contained  in  it.  It  impresses  me  as  the  most  sympathetic 
device  a ceramic  artist  could  select  as  a mark.  ” 1 

PRESENT  DYNASTY,  1644  TO  DATE. 

The  factories  at  Chingte-chen,  which  had  been  closed  during  the  last 
years  of  the  Ming  dynasty,  were  not  reopened  till  the  Manchu  emper- 
ors had  firmly  seated  themselves  upon  the  throne — during  the  reign  of 
K4anghsi  (A.  D.  1662  to  1722).  He  and  his  two  successors,  Yungcheng 
(1723  to  1735)  and  Chienlung  (1736  to  1795),  while  maintaining  the 
qualities  which  had  enabled  their  race  to  gain  its  high  position,  at  once 
adopted  the  civilization  of  the  conquered  nation.  No  less  eminent  as 
scholars  and  statesmen  than  as  able  generals,  loving  the  magnificent 
but  no  less  aiming  at  practical  utility,  they  set  vigorously  to  work  to 
reform  those  portions  of  the  theoretically  admirable  system  of  govern- 
ment which  had  been  allowed  to  fall  into  decay,  to  improve  and  beautify 
the  capital  and  its  palaces,  to  diffuse  education  and  to  encourage  the 
fine  arts.  The  factories  at  Chingte-chen  were  not  slow  to  feel  the  effects 
of  this  change  of  system.  The  kilns  increased  rapidly  in  number,  till 
at  the  date  of  P.  d’Ent recoil es’  letters,  they  aggregated  over  three 
hundred  in  full  activity,  the  fires  of  which  at  night  so  illuminated  the 
hills  surrounding  the  plain  in  which  the  town  stands,  that  it  seemed  as 
some  vast  city  abandoned  to  the  flames,  and  over  a million  souls  found 
a means  of  livelihood  in  its  busy  streets.  The  production  was  not  char- 
acterized by  activity  alone,  however.  The  ablest  artists  were  employed 
to  paint  and  to  design  ornamentation,  to  enhance  the  beautt^  of  which 
they  at  times  availed  themselves  of  foreign  ideas ; odes  from  the  emperor’s 
pen  were  reproduced  upon  vases  in  facsimile,  or  short  extracts  were 
introduced  as  subjects  for  illustration;  vases  and  cups  were  specially 
ordered  to  confer  upon  distinguished  personages,  their  achievements 
being  epitomized  in  the  paintings  which  decorated  these  precious  heir- 
looms (No.  169);  the  workmen  and  decorative  artists  were  educated  to 

JF.  Hirth,  Ancient  Chinese  Porcelain,  p.  72.  S.  Julien,  L’Histoire  et  la  Fabrication 
de  la  Porcelaine  Chinoise,  pp.  99,  103,  104,  206. 


342 


REPOET  OF  NATIONAL  MUSEUM,  1900. 


a higher  level  of  proficiency;  and  the  direction  of  the  factories  was  con- 
fided to  officers  who  were  known  to  be  possessed  of  the  knowledge 
requisite  for  such  a position.  Progress  was  sure  and  rapid;  and  during 
the  seventy-five  years  between  1698  and  1773 — comprising  roughly  the 
latter  half  of  K4anghsi’s  reign,  the  whole  of  Yungcheng’s,  and  rather 
more  than  half  that  of  Chienlung — the  manufacture  and  decoration  of 
porcelain  in  China  attained  a degree  of  excellence  which  in  my  opinion 
has  never  been  reached,  either  before  or  since. 

During  the  early  part  of  K4anghsi’s  reign  (1662  to  1722)  green  was, 
as  it  had  been  among  the  later  productions  of  the  Ming  dynasty — dur- 
ing the  Lunghch  ‘ing  and  W anli  periods  of  1567  to  1619 — the  predominat- 
ing color  employed  in  decoration,  such  porcelain  being  hence  termed  la 
famille  verte / and  to  this  period  belongs,  in  part,  much  of  the  ware 
so  decorated,  which  is  usually  ascribed  to  the  earlier  dynasty  and  is 
considered  a characteristic  Ming  porcelain.  To  the  colors  applied 
under  the  glaze  was  now  added  a blue  above  glaze,  which  does  not 
seem  to  have  been  known  under  the  Mings.  During  the  later  years 
of  this  reign,  however,  green  gave  way  to  red  as  the  predominating 
color,  and  a style  of  decoration  was  adopted  which  has  been  classed  by 
M.  J acquemart  and  subsequent  writers  under  the  title  of  la' famille  rose. 
It  is  easily  distinguished  by  its  half  tints  and  broken  colors,  having 
for  decorative  basis  a carmine  red  lowered  to  pale  rose,  and  obtained 
from  gold,  which  is  called  in  Europe  purple  of  Cassius.  The  addition 
to  their  palette  of  this  color,  of  yellow  derived  from  antimony  and  of 
white  from  arsenical  acid,  enabled  Chinese  artists  to  considerably 
increase  the  variety  and  beauty  of  their  decorations.  A director  of 
the  government  factories  named  Ts4ang  Ying-hsuan  is  mentioned  by 
Chinese  writers  as  having  about  this  time  gained  considerable  distinc- 
tion by  his  productions,  which  were  of  thin  porcelain,  covered  with  a 
brilliant,  and,  in  the  most  highly  valued  specimens,  monochrome  glaze. 
The  colors  are  stated  to  have  been  44  snake-skin  green,”  44  mud-eel  yel- 
low,” blue,  and  dappled  yellow.  Other,  but  less  esteemed,  colors  were 
pale  yellow,  pale  violet,  pale  green,  and  blue  or  red,  both  souffle. 

From  1723  to  1796. 

Shortly  after  the  accession  of  Yungcheng,  Nien  Hsi-yao  was,  in  1727, 
intrusted  with  the  direction  of  the  imperial  manufactories.  He  per- 
sonally selected  the  materials  and  superintended  the  execution  of  the 
Emperor’s  orders.  All  the  articles  made  by  him— which  are  known  as 
Nien  porcelain,  nien-yao — were  graceful  in  form  and  of  fine  workman- 
ship. They  were  chiefly  monochrome  in  color,  blue,  bright  and  carmine 
reds,  celadons,  and  4 4 of  egg  color  as  bright  as  silver,”  but  some  were 
ornamented  with  painted  flowers,  either  incised  or  plain.  Some  of  the 
monochrome  vases,  dating  from  this  or  a slightly  later  period,  have 
lateW  obtained  an  extraordinary  vogue  among  foreign  collectors 


CERAMIC  ART  IN  CHINA. 


343 


and  bring  prices  ridiculously  above  any  value  to  which  they  could 
justly  lay  claim  on  the  score  of  either  rarity,  color,  or  workmanship. 
A small  vase  only  8 inches  high,  of  a dull  white-pink  shade  upon  an 
underground  of  pale  sea-green,  which  has  been  dignified  by  the  name 
of  “ peach  blow”  (in  some  specimens  this  underground  forces  itself 
into  notice  in  the  form  of  splotches  on  the  pink),  was  offered  to  the 
writer  in  Pekin  for  less  than  $200  gold,  and,  having  been  purchased  by 
a foreign  dealer,  was  eventually  sold  in  New  York  for  $15,000.  With 
Nien  Hsi-yao  was  associated  in  the  management  a year  later  a Man- 
chu  officer  in  the  lord  chamberlain’s  office  named  T‘angying,  who 
fifteen  years  later  succeeded  to  the  sole  direction.  Possessing  an  inti- 
mate knowledge  of  the  different  varieties  of  clay  and  of  the  effects  of 
fire  upon  them  and  on  colors,  he  exercised  the  greatest  care  in  the 
choice  of  materials,  and  every  article  made  under  his  orders  was 
remarkable  for  delicacy  of  workmanship,  purhy  of  form,  and  brilliance 
of  coloring.  He  imitated  with  wonderful  precision  the  most  beautiful 
of  the  ancient  designs,  and  his  efforts  at  reproducing  the  most  cele- 
brated glazes  were  crowned  with  equal  success.  In  addition,  he  is 
credited  with  the  invention  of  several  new  styles  of  decoration,  of  which 
the  most  remarkable  were:  The  use  of  European  blues  and  violets,  a 
ground  of  enamel  black,  white  flowers  or  designs  in  gold  upon  a black 
ground,  the  French  method  of  painting,  and  the  yao-pien  or  jlarnbe 
style.  In  a word,  u under  his  direction,”  Chinese  writers  state,  uthe 
products  of  the  imperial  factories  attained  their  highest  .perfection.1” 

The  work  translated  by  M.  Julien  distinctly  states  that  the  introduc- 
tion of  the  black  grounds  dates  from  the  early  part  of  Chienlung’s*. 
reign.  Treating,  as  this  work  does,  of  events  of  such  comparatively 
recent  occurrence,  its  reliability  would  at  first  glance  seem  scarcely 
open  to  doubt.  I am,  however,  strongly  of  opinion  that  the  statement 
is  erroneous,  and  that  black  grounds  originated  some  decades  earlier. 

I have  seen  specimens  which,  the  black  ground  apart,  have  all  the 
characteristics  of  the  Kcanghsi  period,  and  far  inferior  in  delicacy  of 
execution  to  specimens  which  were  undoubtedly  manufactured  under 
the  direction  of  T‘angying,  such  as  No.  93  of  this  collection.  The. 
accuracy  of  the  statement  in  other  respects  is,  however,  confirmed  by 
experience.  The  use  of  violet,  or  of  magenta  with  a violet  tone,  with 
most  happy  effect,  especialty  for  grounds,  is  one  of  the  characteristics 
of  this  period,  while  the  best  blues  fully  equal  anything  in  that  color 
produced  during  the  best  periods  of  the  Mings. 

Special  attention,  as  has  been  seen,  was  also  paid  at  this  time  to  the 
production  of  yao-pien,  of  which  Chinese  writers  distinguish  three 
kinds — two  due  to  celestial  agency;  one,  thzflambe  glaze,  to  human  inge- 
nuity. As  regards  the  latter,  oxydulated  copper,  it  is  well  known,  fur- 
nishes vitrifiable  painting  with  a fine  red.  This,  thrown  in  a body  on  a 

*S.  Julien,  L’Histoire  et  la  Fabrication  de  la  Porcelaine  Chinoise,  pp.  108  et  seq. 


344 


REPORT  OF  NATIONAL  MUSEUM,  1900. 


vase,  forms  the  tint  called  haricot , a kind  of  fawn  color;  with  a further 
quantity  of  oxygen  of  equal  amount  a protoxide  is  formed,  producing  a 
beautiful  green,  that  may  be  changed  into  sky-blue  by  increasing  the 
oxygenation.  The  tints  upon  a vase  may  thus  be  modified  almost  indefi- 
nitely by  a due  regulation  at  different  periods  during  the  process  of 
baking  of  the  currents  of  air  admitted.  “ When  a clear  fire  placed  in  a 
strong  current  draws  a considerable  column  of  air,  all  the  oxygen  is  not 
consumed,  and  part  of  it  combines  with  the  metal;  if,  on  the  other  hand, 
thick  smoke  is  introduced  into  the  furnace,  of  which  the  carbonaceous 
mass,  greedy  of  oxygen,  absorbs  everywhere  this  gas,  necessary  for 
its  combustion,  the  oxides  will  be  destroyed  and  the  metal  completely 
restored.  Placed  at  a given  moment  in  these  given  conditions,  by  the 
rapid  and  simultaneous  introduction  of  currents  of  air  and  of  sooty 
vapors  the  haricot  glaze  assumes  a most  picturesque  appearance;  the 
whole  surface  of  the  piece  becomes  diapered  with  veins  and  streaked 
colorations,  changing  and  capricious  as  the  flame  of  spirits,  the  red 
oxydulate,  passing  by  violet  into  pale  blue  and  to  the  green  protoxide, 
evaporates  itself  even  completely  upon  certain  projections,  which 
become  white,  and  thus  furnishes  happy  accidental  combinations.”1 2 
The  supernatural  changes  are  either  of  color,  as  when  a piece  of  porce- 
lain is  taken  from  the  kiln  having  developed  a patch  of  some  new  color 
in  a natural  shape,  or  of  form,  “as  when  some  unusually  large  slabs 
were  requisitioned  by  one  of  the  Ming  emperors,  which  were  trans- 
formed into  beds  and  boats,  with  equipage  complete,  and  forthwith 
broken  up  by  the  startled  potters,  'as  gravely  reported  by  the  official 
in  charge  by  way  of  excuse  for  their  absence.”3  In  the  Buddhist  tem- 
ple Pao-kuo-ssu  in  Pekin  is  a famous  yao-pien  image  of  Yuanyin,  a 
finely  designed  figure  enamelled  in  colors,  light  blue,  crimson,  yellow, 
and  two  shades  of  brown;  of  which,  in  an  ode  from  his  pen  engraved 
on  the  shrine,  the  Emperor  Chienlung  says  the  goddess  descended  into 
the  kiln  to  fashion  an  exact  likeness  of  herself. 

The  reference  to  the  introduction  to  “the  French  method  of  painting” 
is  of  so  interesting  a nature  as  to  merit  more  detailed  consideration. 

The  Jesuit  missionaries  of  the  seventeenth  century  gained  for  them- 
selves a position  of  dignity  and  influence  beside  the  Dragon  throne  such 
as  no  foreigner  before  or  since  has  succeeded  in  attaining.  This  posi- 
tion, and  a tolerance  which  saw  nothing  incompatible  with  the  Catholic 
religion  in  the  cherished  observance  of  the  Chinese — in  the  payment 
of  official  honors  to  the  sage  Confucius  and  in  the  performance  of 
certain  rites  in  honor  of  ancestors  erroneously  termed  “ancestral  wor- 
ship”— caused  a remarkable  spread  of  Catholicism,  which,  owing  to 
the  labors  of  Father  Ricci  and  his  successors,  had  already  established 
itself  under  the  Ming  dynasty,  counting  among  its  members  many 

1 Jacquemart,  History  of  the  Ceramic  Art,  translated  by  Mrs.  Palliser,  p.  50. 

2S.  W.  Bushell,  Letter  in  North  China  Herald,  May  12,  1888. 


CERAMIC  ART  IN  CHINA. 


345 


officials  and  the  consort  of  the  last  of  the  line,  who  proclaimed  himself 
emperor  in  the  Kwangtung  (Canton)  province.  But  Pope  Clement  XT? 
bull  Ex  ilia  die , confirming  , an  earlier  bull  on  the  same  subject  date^. 
the  4th  November,  1704,  by  deciding  that  these  observances  were 
incompatible  with  Catholic  belief,  aroused  violent  anger  on  the  part  of 
the  Emperor  K’anghsi  and  dealt  a blow  to  the  missions  from  which 
they  have  never  recovered.  The  Emperor  died  before  the  legate 
specially  sent  to  China  to  carry  out  the  bull  could  perform  his  promise 
to  endeavor  to  persuade  the  Pope  to  modify  its  terms;  and  decrees  of 
great  severity  were  issued  against  Christianity  by  his  successors, 
Yungcheng  and  Chienlung,  to  which  Pope  Benedict  XIV  replied  in 
1742,  by  issuing  a bull  deciding  this  unfortunate  question  in  its  nar- 
rowest sense.  The  severity  of  the  imperial  decree  was,  however, 
mitigated  in  favor  of  the  missionaries  at  court — at  first  Jesuits,  and 
after  the  dissolution  of  that  order  Lazarists;  and  a European  divine 
'continued  to  be  a director  of  the  board  of  astronomy  down  to  1814. 

The  influential  position  occupied  by  the  Jesuits  was  both  won  and 
maintained  chiefly  by  their  high  attainments  in  astronomy,  in  mathe- 
matics, and  in  geometry.  It,  however,  enabled  these  able  and  enlight- 
ened representatives  of  western  learning  to  exercise  a considerable 
degree  of  influence  upon  other  matters  not  directly  connected  with  the 
studies  for  which  they  were  chiefly  famous,  but  in  which  their  scientific 
education  gave  them  the  power  and  right  to  speak  with  authority. 
When,  therefore,  contemporaneously  with  the  enjoyment  by  them  of 
this  position  of  influence,  a style  of  decoration  was  adopted  for  porce- 
lain and  enamels  for  both  imperial  and  general  use  purely  European  in 
its  character— not  only  in  the  more  intimate  acquaintance,  as  compared 
with  previous  native  drawing,  of  the  laws  of  perspective  displayed,  but 
even  in  the  reproduction  of  European  dress  and  figures  and  eminently 
European  scenes  and  pastimes — it  seemed  that  this  could  scarcety  be 
mere  coincidence.  It  was  more  natural  to  suppose  that  under  the  direc- 
tion of  one  of  these  able  missionaries -a  school  had  been  established  in 
connection  with  the  government  porcelain  factories  for  instruction  in 
European  designs,  in  European  ideas  of  grouping  floral  ornamentation/ 
and  in  the  European  style  of  painting  generally.  Pere  d’Entrecolles, 
it  is  true,  makes  no  allusion  in  his  famous  letters  to  such  a school. 
But,  as  they  were  written  for  the  purpose  of  enlightening  the  west 
regarding  the  composition  of  the  materials  and  the  system  of  manu- 
facture employed  by  the  Chinese,  the  use  of  European  'designs  in  the 
decoration  of  porcelain  might  well  have  been  passed  over  in  silence, 
and  the  absence  of  such  reference  would  not  necessarily  prove  that 
such  a school  had  not  existed. 

The  supposition  that  some  of  the  Jesuits  were  at  this  time  more  or  less 
intimately  associated  with  the  manufacture  and  decoration  of  porcelain 
was  supported  by  the  belief,  which  is  still  current  among  Chinese 
NAT  mus  1900 25 


346 


REPORT  OF  NATIONAL  MUSEUM,  1900. 


experts,  that  the  secret  of  the  composition  of  the  sang-de-bceuf  coloring 
and  of  its  peculiar  glaze  marked  with  pittings  resembling  those  notice- 
able on  orange  peel  (specimens  of  which  are  now  so  highly  prized  by 
collectors)  was  discovered  by  a missionary,  and  that  its  Chinese  desig 
nation  ( lang-yao  or  Lang  ware)  preserves  to  the  present  day  the  first 
syllable  of  the  inventor’s  surname.1  Researches  kindly  undertaken  at 
my  request  by  Abbe  Alphonse  Favier,  the  vicar-general  of  Chihli  prov- 
ince, into  the  ancient  episcopal  records  and  valuable  library  at  Pekin 
have,  however,  failed  to  discover  any  mention  of  the  establishment 
under  missionary  direction  of  a school  for  the  special  purpose  of  porce- 
lain decoration.  Had  it  existed,  the  fact  would  undoubtedly  have  been 
chronicled  in  the  records  left  by  such  careful  and  methodical  workers 
as  these  Jesuit  priests  were;  and  the  explanation  which  the  existence  of 
such  a school  would  have  afforded  must  therefore  be  abandoned.  Abbe 
Favier,  however,  informs  me  that  Brothers  Castiglione  and  Attirer 
were  noted  painters  at  Pekin  both  of  portraits  and  of  landscapes,  and 
that  they  formed  a school,  paintings  bv  their  pupils  having  come  into 
his  possession.  It  may,  then,  I think,  be  confidently  assumed  that  the 
imperial  family  having  in  the  first  instance  been  struck  with  the  beauty 
of  the  ornamentation  on  the  enamel  watches,  snuff  boxes,  etc.,  which 
came  to  China  from  France  during  the  reign  of  Louis  XIV,  a some- 
what similar  style  of  decoration  was  introduced  about  1728,  or  shortly 
after,  for  articles  intended  for  imperial  use;  and  that  subsequently  the 
Jesuit  brothers,  Castiglione  and  Attirer,  were  commissioned  to  exe- 
cute European  designs,  which  were  sent  to  Chingte-chen,  to  be  there 
copied  on  porcelain.  As  no  article  which  was  not  perfect  in  every 
detail  could  be  forwarded  to  Pekin,  many  of  the  pieces  ordered  for 
the  court  would  then  (as  now)  be  rejected  by  the  superintendent  of  the 
manufactory,  and  be  retained  by  him  or  his  subordinates.  These 
would  gradually  pass  into  other  hands,  and,  possessing  at  once  the 
charm  of  novelty  and  the  merit  of  being  in  a style  appreciated  at  court, 
would  serve  as  models  in  the  decoration  of  more  ordinary  ware. 

About  the  same  period — that  is,  during  the  later  years  of  Yungcheng’s 
reign,  which  ended  in  1735 — Ku  Yueh-hsuan,  a subordinate  officer,  I 
believe,  in  the  directorate  of  the  Chingte-chen  factories,  introduced  the 
use  of  an  opaque- white  vitreous  ware  for  the  manufacture  of  articles 

TIn  China  omne  ignotum  pro  magnifico  is  especially  true;  and,  as  in  the  case  of  the 
beautiful  red  coloring  of  the  Hsiiante  period,  so  in  the  sang-de-boeuf , the  brilliant 
tint  is  commonly  believed  to  result  from  the  use  of  powdered  rubies.  The  fact  that 
in  the  list  of  missionaries  of  that  time  I could  find  none  with  the  surname  Lang, 
caused  me  to  doubt  the  reliability  of  this  generally  accepted  explanation;  and  on 
expressing  my  doubts  to  the  late  Chang  Yen-Moan,  for  many  years  a member  of  the 
Chinese  foreign  office  and  minister  to  the  United  States,  who  was  himself  an  ardent 
collector  of  ancient  paintings  and  porcelain,  he  assured  me  that  the  name  had  no 
connection  with  the  Jesuits,  but  was  derived  from  the  surname  of  the  governor  of 
Kiangsi  province  at  the  time  that  ware  was  first  made,  Lang  Ch‘ao-t‘ing. 


CERAMIC  ART  IIS'  CHINA. 


847 


of  small  dimensions,  such  as  snuff  bottles,  wine  cups,  vessels  for  wash- 
ing pencils  in,  etc.  The  vitreous  nature  of  the  body  imparted  a tone 
and  brilliancy  to  the  colors  used  in  the  decoration  which  was  greatly 
admired;  and,  under  the  auspices  of  T‘angying,  all  the  artistic  and 
technical  skill  of  the  government  factory  was  lavished  upon  these  lit- 
tle gems,  which  are  certainly  among  the  masterpieces,  if  not  the  mas- 
terpieces, of  ceramic  art  in  China,  being  valued  more  highly  than  jade 
by  Chinese  connoisseurs  of  the  present  day.  The  decoration  of  the 
best  specimens  of  this  ware  will  well  repay  minute  study . The  choice 
of  groundwork  is  effective,  the  grouping  of  the  colors  soft  and  harmo- 
nious, the  introduction  of  European  figures  is  interesting,  and  the 
arrangement  of  flowers  evidences  the  highest  artistic  skill.  Nos.  324  to 
327  are  admirable  specimens  of  this  very  rare  ware.  The  earliest  pieces 
were  marked,  usually  in  red,  ta-ch‘ing-nien-chih , “Made  during  the 
great  Pure  (the  ChTng  or  present)  dynasty,”  as  in  No.  323;  the  later 
pieces,  during  Chienlung’s  reign  (1736  to  1705),  had  the  mark  within 
a square  seal-like  border,  Chien-lung  nien-chih , “Made  during  the 
reign  of  Chienlung,”  engraved  in  the  foot,  and  filled  with  a thick, 
bright-blue  enamel  glaze.  It  is  said  that  when  specimens  of  this  ware 
were  submitted  to  the  Emperor  Yungcheng  he  expressed  his  high 
admiration  of  their  beauty,  but  at  the  same  time  a regret  that  it  should 
not  be  possible  to  obtain  the  same  brilliant  transparency  of  color  upon 
the  ground  of  greater  purity  which  was  afforded  by  the  best  porcelain 
as  compared  with  the  vitreous  composition  employed.  T‘angying’s 
energies  were  immediately  devoted  toward  fulfilling  the  Emperor’s- 
desire,  his  efforts  being  certainly  crowned  with  a very  large  measure 
of  success.  He  appears  to  have  employed  for  his  purpose  a very  pure 
glaze  of  a highly  vitrifiable  nature,  and  to  have  thereb}^  obtained  an 
enamel  brilliancy  that  no  other  porcelain  shows,  and  to  have  also 
secured  to  a considerable  extent  the  same  soft  transparency  in  the 
decorative  colors  which  was  so  much  appreciated  on  Ku  Yiieh-hsuan’s 
vitreous  ware.  The  manufacture  of  this  porcelain  appears  to  have  been 
carried  on  simultaneously  with  that  of  the  Ku  Yueh-hsuan  proper 
some  dating  from  Yungcheng’s  reign  and  some  from  Chienlung’s. 
The  marks  it  bears  correspond  exactly  with  the  later  products  of  vit- 
reous composition,  and,  indeed,  owing  to  its  origin,  it  is  known  as 
fang -ku-yueh-ksuan , “modeled  on  the  pattern  of  the  Ku  Yueh-hsuan.” 
Specimens  of  this  porcelain,  which  is  quite  rare,  are  held  in  very  high 
esteem  b}T  the  Chinese,  alike  for  the  purity  of  the  paste,  the  brilliance 
of  the  glaze,  and  the  beaut}^  of  the  decoration,  and  are  considered 
among  the  finest  productions  of  the  period  during  which  the  manufac- 
ture attained  its  highest  excellence.  Nos.  328  to  336  are  good  speci- 
mens, and  afford  a fair  criterion  of  the  merits  of  this  porcelain. 

The  three-quarters  of  a century  above  mentioned  (1698  to  1773)  was 
marked  by  the  production  of  articles  which  are  masterpieces  of  Chinese 


348 


REPORT  OF  NATIONAL  MUSEUM,  1900. 


ingenuity  and  of  skillful  workmanship.  Vases  of  various  forms  are 
fitted  with  a central  ring,  which,  while  it  is  separate  from  the  vase  and 
movable  at  will  in  a horizontal  direction,  still  can  not  be  detached. 
Other  vases  there  are  having  the  body  formed  of  two  shells,  the  outer 
portion  consisting  in  part  of  a geometric  design  or  of  bunches  of  flow- 
ers in  openwork,  revealing  a historical  representation,  or  a group  of 
flowering  plants  beautifully  painted  upon  the  inner  tube.  Others, 
again,  exhibit  the  peculiarities  of  both  these  varieties  combined,  it 
being  possible  to  make  the  openwork  exterior  revolve,  in  order  to 
bring  to  light  the  painted  decoration  within,  but  without  possibility  of 
separating  it  from  the  vase  itself.  There  are  still  others  of  which  the 
exterior  shell  is  divided  into  two,  generally  unequal,  parts,,  each  having 
scalloped  or  lambrequin  edges  some  inches  in  depth,  which  fit  exactly 
into  one  another,  but  are  still  movable,  though  neither  can  be  detached 
entirely  from  the  internal  body.  What  process  was  adopted  to  secure 
this  mobility  and  prevent  the  movable  section  from  becoming  attached 
to  the  other  portions  of  the  vase  in  the  process  of  baking  is  a mystery 
which  has  never  as  yet,.  I believe,  been  satisfactorily  explained.  The 
beautiful  hexagonal  and  octagonal  lamp  shades  of  delicately  thin  porce- 
lain, either  reticulated  or  ornamented  with  paintings  and  reticulated 
edges,  are  productions  of  this  period  equally  admired  and  now  no  less 
rare  than  the  above. 

During  Chienlung’s  reign  a considerable  change  is  noticeable  in  the 
style  of  ornamentation — -a  change  undoubtedly  brought  about  by  the 
influence  of  foreign  designs.  During  the  latter  portion  of  the  Ming 
dynasty,  though  arabesque  decoration  was  known  to  the  Chinese  under 
the  title  of  liuei-huei , or  Mohammedan  style,  and  was  also  utilized,  the 
ornamentation  upon  porcelain,  when  it  was  not  floral  in  its  character  or 
formed  of  historical  or  m}Thological  scenes,  consisted  almost  entirely 
of  reproductions  of  the  patterns  found  upon  the  brocaded  satins  of  that 
date.  Under  the  earlier  emperors  of  the  present  dynasty,  though  the 
decoration  was  marked  by  greater  wealth  of  detail  and  by  far  greater 
artistic  skill  than  at  any  previous  time,  in  remained  in  essential  charac- 
ter the  same.  On  Chienlung  porcelain,  however,  it  exhibits  a decided 
tendency  towards  the  styles  of  western  decoration,  showing  in  some 
cases  a close  resemblance  to  the  foliate  ornamentation  which  plays  so 
important  a part  in  the  illumination  of  mediaeval  missals,  in  others  to 
designs  which  are  usually  considered  Persian  or  arabesque  in  their 
origin.  This  marked  modification  is  no  doubt  due  in  part  to  the  influ- 
ence of  the  designs  sent  from  Persia  to  be  copied  in  China  on  porce- 
lain ordered  from  that  country,  and  after  their  return  home  to  that  of 
the  Chinese  potters  (whom  Shah  Abbas  I,  about  the  year  1600,  had  in- 
vited .to  Persia,  with  the  object  of  improving  the  manufacture  of  porce- 
lain at  Ispahan),  and  in  part  to  the  influence  of  the  Limoges  enamels, 
which  had  been  sent  by  Louis  XIV  to  the  Emperor  K4anghsi  and  which, 


CERAMIC  ART  IN  CHINA. 


349 


subsequent  to  that  date,  succeeding  emperors  had  obtained  from  the 
Jesuit  missionaries.  These  enamels  seem  indeed  to  have  served  as 
models  to  be  reproduced  with  fidelity  in  every  detail.  For  M.  du  Sartel 
gives  the  drawing  of  a low,  open  porcelain  cup  with  two  handles  in  the 
collection  of  M.  Marquis  of  Paris,  which  is  described  as  being  the  exact 
counterpart  of  a Limoges  enamel,  even  the  signature  J.  L.  (Jean  Lan- 
drin,  an  enameller  of  that  town)  being  reproduced  upon  the  foot. 

At  about  the  same  period  it  became  customary  for  nobles  and  wealthy 
individuals  in  Europe  to  order  services  of  porcelain  from  China  bear- 
ing their  family  arms.  Indeed  if  tradition  can  be  trusted  the  practice 
originated  two  centuries  earlier;  for  the  Emperor  Charles  V (1519  to 
1555)  is  said  to  have  ordered  from  China  a complete  service  orna- 
mented with  his  armorial  bearings  and  monogram.  The  service  is  sup- 
posed to  have  passed  into  the  hands  of  the  Elector  of  Saxon}^  after  the 
emperor’s  withdrawal  to  Innspruck,  and  some  plates  now  in  the  Dres- 
den collection,  marked  with  a double  C,  inclosing  the  crowned  double- 
headed  imperial  eagle,  with  coat  of  arms  and  collar  of  the  Order  of  the 
Golden  Fleece,  are  believed  by  the  writers  responsible  for  the  above 
statement  to  be  portions  of  this  service.  Judging,  however,  from  the 
style  of  decoration,  I am  of  opinion  that  this  belief  is  erroneous,  and 
that  the  plates  in  question  were  manufactured  more  than  a century 
later  than  Charles  V’s  abdication.  The  French  Compagnie  (P  Orient  et 
des  Indes  Orientates , whose  title  was  shortly  afterwards  changed  to  Com- 
pagnie de  Chine , during  the  short  period  it  existed,  1685  to  1719,  brought 
from  China,  together  with  an  extensive  supply  of  other  porcelains, 
services  specially  ordered,  bearing  the  arms  of  France,  of  Penthievre,- 
and  of  other  distinguished  families.  Some  of  the  services,  as,  for 
instance,  the  plates  bearing  the  arms  of  England,  France,  and  the 
provinces  of  The  Netherlands,  preserved  in  the  Huis  ten  Bosch  at  The 
Hague,  undoubtedly  date  from  the  first  half  of  K4anghsi’s  reign,  but 
the  great  majority  are  of  later  origin,  and  possess  a considerable  degree 
of  excellence  both  as  to  form  and  decoration. 

From  1796  to  1820. 

The  truly  great  raonarchs  K4anghsi,  Yungcheng,  and  Chienlung1 
were  succeeded  by  Chiachfing  (1796  to  1820),  Chienlung’s  idle  and 
dissolute  son,  whose  administration  was  characterized  by  a feeble- 
ness hitherto  unknown  under  Manchu  rule,  and  was  so  detested 
as  to  occasion  attempts  to  assassinate  the  vicegerent  of  Heaven — a 
stupendous  crime  in  such  a countr}7  as  China.  The  porcelain  factories, 
in  common  with  all  branches  of  the  Government  service,  languished 
under  the  effects  of  this  want  of  energy,  and  little  worthy  of  special 
mention  was  manufactured.  As  the  result  of  the  high  excellence 

1 Chienlung  abdicated  in  order  to  escape  disrespect  to  his  grandfather  by  occupy- 
ing the  throne  for  so  long  a period  as  he  had  reigned. 


350 


REPORT  OF  NATIONAL  MUSEUM,  1900. 


already  attained,  good  work  continued  to  be  performed,  but  it  fell 
short  of  what  the  court  had  grown  accustomed  to,  and  no  initiative 
was  taken  to  attempt  originality  either  in  design  or  decoration. 

From  1821  to  1850. 

Chiachfing  was  succeeded  by  his  second  son,  who  assumed  the  title  of 
Taokuang  (1821  to  1850),  a ruler  whose  good  intentions  to  root  out 
the  abuses  that  had  grown  up  during  his  father’s  reign  were  largely 
neutralized  by  natural  indolence.  His  difficulties  were,  besides,  greatly 
increased  by  the  war  with  France  and  England,  and  the  outbreak 
shortly  after  of  the  great  T4aipwing  rebellion,  which  during  his  reign 
and  that  of  his  son  (Hsienfeng,  1851  to  1861)  devastated  sixteen  out  of 
the  eighteen  provinces  of  the  Chinese  Empire,  and  threatened  the  over- 
throw of  his  dynasty.  Notwithstanding  these  serious  causes  for  anx- 
iety, he  found  time  to  devote  some  attention  to  the  ceramic  art,  and  the 
porcelain  manufactured  for  his  own  use,  and  marked  with  the  designa- 
tion he  gave  to  his  own  palace,  Shen-te-tf ctng , compares  not  unfavorably 
with  similar  productions  under  Yungcheng  and  Chienlung,  and  is  at 
the  present  day  much  sought  after  by  Chinese  connoisseurs. 

From  1850  to  1888. 

The  productions  of  his  successor  are  marked  by  rapid  decadence, 
and  the  rebels,  when  they  overran  Kiangsi  province,  having  entirely 
destroyed  Chingte-chen  and  its  factories,  the  manufacture  of  porcelain 
ceased  entirely. 

During  the  reigns  of  his  son  T‘ungchih  (1862  to  1871)  and  nephew 
Kuanghsii  (1875  to  date)  the  manufacture  has  been  renewed  and  great 
attention  paid  to  its  improvement,  but  it  still  falls  far  short  of  the 
classic  periods  of  Yungcheng  and  of  Chienlung.  Some  of  the  decora- 
tions in  sepia  exhibit  considerable  artistic  merit,  and  a style  of  decora- 
tion consisting  of  flowers  and  butterflies  in  black  and  white  upon  a pale 
turquoise  ground  was  highly  appreciated  some  fifteen  years  ago  among 
foreigners.  The  greatest  measure  of  success  has,  however,  of  late 
years  been  gained  in  the  reproduction  of  thzfamille  verte  decoration  of 
the  first  half  of  K4anghsi’s  reign,  and  of  this  ornamentation  or  of  plum 
blossom  on  black  grounds.  So  good  are  these  imitations  that  a prac- 
tised eye  can  alone  detect  the  false  from  the  real,  and  I have  known  a 
pair  of  black-ground  vases,  only  two  or  three  years  old,  purchased  by 
a foreign  dealer  for  over  $1,000,  under  the  belief,  no  doubt,  that 
they  dated  from  the  time  of  K4anghsi  or  of  Chienlung. 

INTRODUCTION  OF  CHINESE  PORCELAIN  INTO  EUROPE. 

M.  Brongniart  said  that  porcelain  was  first  introduced  into  Europe 
by  the  Portuguese  in  1518.  Researches  made  since  the  publication  of 
this  work  in  1841  prove,  however,  that  oriental  porcelain  was  known  in 


CERAMIC  ART  IN  CHINA. 


351 


Europe  many  years  prior  to  that  date.  In  New  College,  Oxford,  is 
still  preserved  a celadon  bowl  mounted  in  silver  richly  worked,  known 
as  4 ‘Archbishop  Warham’s  cup”  and  bequeathed  by  that  prelate  (1501 
to  1532)  to  the  college,  which  was  imported  into  England  before  the 
reign  of  Henry  VIII.  Marryat,  in  his  history  of  Porcelain,  also  men- 
tions some  bowls  which  were  given  to  Sir  Thomas  Trenchard  by  Philip 
of  Austria  when,  after  leaving  England  to  assume  the  throne  of  Castile 
in  1505,  he  was  driven  back  by  a storm  to  Weymouth  and  entertained 
there  by  Sir  Thomas.  These  bowls  are  said  to  have  been  preserved  by 
the  Trenchards,  and  to  be  of  white  porcelain  decorated  with  blue  under 
glaze.  From  M.  du  SartePs  work  we  learn  that  amongst  presents  sent 
by  the  Sultan  to  Lorenzo  de  Medici  in  1187  were  porcelain  vases;  and 
that  this  ware  is  mentioned  about  the  same  time  in  the  maritime  laws 
of  Barcelona  as  one  of  the  articles  imported  from  Egypt.  In  letters, 
too,  addressed  by  the  Venetian  ambassador  at  the  court  of  Teheran  in 
1171  to  his  government  frequent  mention  is  made  of  porcelain;  and 
some  decades  earlier,  in  1110,  the  Sultan  of  Babylonia  sent  three  bowls 
and  a dish  of  Chinese  porcelain  (de  jporcelaine  de  Sinant ),*  to  Charles 
VII,  King  of  France,  by  the  hands  of  a certain  Jean  de  Village,  the 
agent  in  that  country  of  a French  merchant  named  Jacques  Coeur. 

Nearly  three  centuries  earlier  still,  mention  is  made  in  an  Arabian 
manuscript,  known  as  the  Makrizi  Manuscript,  in  the  National  Library, 
Paris,  and  translated  b}r  the  Abbe  Renaudot,  of  a service  of  chinaware, 
consisting  of  forty  pieces  of  different  kinds,  sent  with  other  presents 
to  Nur-ed-din,  the  Kaliph  of  Syria,  by  his  lieutenant,  Saladin  (after- 
wards the  hero  of  the  Crusades),  soon  after  his  conquest  of  Syria,  in* 
the  year  of  the  Hegira  567  (A.  D.  1188).  “This,”  says  Mr.  A.  W. 
Franks  in  the  catalogue  of  his  own  collection,  now  in  the  British 
Museum,  “is the  ffrst  distinct  mention  of  porcelain  out  of  China,”  but, 
in  common  with  other  writers  on  the  subject,  he  refers  the  date  of  the 
present  to  1171,  though  that  year  appears  not  to  correspond  with  the 
Mohammedan  date  mentioned  in  the  original  text. 

From  Chinese  sources  (the  Ming-shih , or  History  of  the  Ming 
Dynasty,  and  the  Hsi-yang-cKao-kung-tien-lu,  or  Records  of  Tribute 
Missions  from  the  West)  we  learn  that  the  famous  eunuch  Chengho 
carried  Chinese  arms  as  far  as  Ceylon  during  the  reign  of  Yunglo  (1103 
to  1125);  that  under  his  successor  in  1130  the  same  eunuch  and  an  asso- 
ciate envoy,  Wang  Ching-hung,  were  sent  on  a mission  to  Hormuz  and 
sixteen  other  countries,  and  that  Chengho  dispatched  some  of  his  sub- 
ordinates on  commercial  ventures  to  Calicut,  on  the  coast  of  Malabar, 
and  even  as  far  west  as  Djiddah,  the  port  of  Mecca.  “En  1131  ou 
1132,”  says  Heyd,* 2  “ on  y vit  meme  arriver  plusieurs  jonques  chinoises 

*Du  Sartel,  Histoire  de  la  Porcelaine  Chinoise,  p.  28. 

2Histoire  du  commerce  du  Levant,  II,  p.  445,  quoting  Quatremere’s  Memoire  sur 
1’Egypte,  II,  p.  291. 


352 


REPORT  OF  NATIONAL  MUSEUM,  1900. 


qui  lFavaient  pas  trouve  a ecouler  leurs  marchandises  a Aden  dans  de 
bonnes  conditions.  On  les  y re^ut  avec  empressernent  dans  Fespoir 
qne  leur  visite  serait  le  debut  d’un  traffic  avec  la  Chine.”  The  expe- 
dition was  evidently  a large  one,  and  one  of  its  objects  was  commercial 
intercourse,  porcelain  being  specially  mentioned  among  the  articles 
with  which  the  vessels  were  freighted.  Porcelain  had,  however,  reached 
these  countries  at  a far  earlier  date.  Marco  Polo,  traveling  in  1280, 
mentions  the  trade  in  this  ware  from  Quinsai,  the  present  Hangchou, 
and  from  Zaitun,  a port  on  the  Fukien  coast,  which  has  been  identified 
with  Chfiianchou  (better  known  as  Chinchew)  by  Klaproth  and  other 
writers,  whose  view  has  been  adopted  by  Colonel  Yule  in  his  magnifi- 
cent edition  of  that  famous  traveler’s  voyages,  and  with  Changchou 
and  its  port,  Geh-Kong  (a  short  distance  south  from  Chinchew,  and 
inland),  by  Mr.  George  Philips,  of  Her  British  Majesty’s  consular 
service  in  China.  And  Ibn  Batuta,  an  Arabian  traveler,  who  wrote 
in  1310,  states  distinctly  that  “ porcelain  in  China  is  worth  no  more 
than  pottery  is  with  us;  it  is  exported  to  India  and  other  countries, 
from  which  it  is  carried  even  to  our  own  land  Maghreb ,”  that  is,  the 
sunset,  the  name  given  by  the  Arabs  to  all  that  part  of  Africa  which 
lies  to  the  west  of  Egypt. 

ROUTE  FOLLOWED. 

Chinese  history  fully  confirms  the  above  statement,  and,  indeed,  shows 
that  this  commerce  had  already  long  existed  at  the  time  Ibn  Batuta 
wrote.  In  a gigantic  compilation  of  the  works  of  earlier  authors  under- 
taken during  the  reign  of  Yunglo  (hence  termed  the  Yung-lo-ta-tien ), 
the  manuscript  of  which  was  presented  to  the  throne  in  1107,  is  pre- 
served “an  account  of  the  countries  fringing  the  Chinese  border” 
( Chu-fan-chih ),  written  by  Chao  Ju-kua,  who  was  inspector  of  foreign 
trade  in  Fukien  during  the  Sung  dynasty.  As  the  author  speaks  of 
the  time  of  Mohammed  “as  twenty-nine  generations,  or  six  or  seven 
hundred  years  ago,”  his  work  would  seem  to  have  been  written  during 
the  first  half  of  the  thirteenth  century;  but  as  he  mentions  a tribute 
mission  sent  by  the  Arabs  to  China  in  the  K‘aihsi  period  (1205  to  1208), 
probably  later  than  the  latter  date.  The  compilation  was,  however, 
considered  too  extensive  and  the  printing  was  never  completed,  though 
the  more  important  works  relating  to  periods  preceding  the  Yuan 
dynasty  were  reedited  and  published  by  the  Emperor  Chienlung.  One 
of  these  was  Chao  Ju-kua’s  work.  It  contains  much  valuable  infor- 
mation regarding  the  Arab  trade  of  the  twelfth  century,  and,  as  it 
takes  ChiPanchou  (Chinchew)  as  the  starting  point  from  which  all 
voyages  start  and  distances  are  computed,  it  appears  to  support  Klap- 
roth’s identification  of  Marco  Polo’s  Zaitun  with  that  town.  From  this 
work  it  is  evident  that  a large  and  valuable  trade  was  carried  on 
between  China  and  Brni  in  Borneo,  with  Chancli^eng , comprising  a 


CERAMIC  ART  IN  CHINA. 


353 


portion  of  Cochin  China,  with  Cambodia  (Chenla),  with  Java  (She-po), 
with  San-po-cfri,  which  another  Chinese  work,  the  Ying-hai-sheng-lan , 
states  to  be  another  name  of  Palembang  ( Po-lin-pang ) in  Sumatra — at 
which  latter  place  the  products  of  China  and  countries  south  of  it  were 
stored  up  for  barter  with  Arab  traders  for  the  goods  of  Europe,  India, 
west  Asia,  and  Africa — and  with  Lambri,  on  the  northwest  coast  of 
the  same  island.  Occasionally  Chinchew  junks  proceeded  onward  to 
Coilom,  a well-known  seaport  (the  present  Quilon)  on  the  coast  of 
Malabar,  which  is  described  under  the  name  of  Lampi;  but  as  a rule  it 
would  seem  that  the  trade  westward  was  in  the  hands  of  the  Arabs, 
and  Chao  Ju-kua  mentions,  indeed,  incidental^  that  a family  from 
Malabar  was  established  in  the  southern  suburb  of  Chinchew  itself. 
From  this  point  the  goods  were  carried  to  Guzerat  (‘ HucYa-la),  as 
part  of  the  country  of  Lampi,  and  thence  to  the  Arab  colony  in  Zan- 
zibar (ts^ngpci,  Cantonese  tsi ang  pat 4 ts‘ang  par).  Porcelain  is  dis- 
tinctly mentioned  among  the  principal  articles  carried  away  from  China 
by  the  vessels  to  each  of  these  ports  and  to  Ceylon.1  The  correctness 
of  this  author’s  statements  has  lately  been  confirmed  in  a striking  man- 
ner. Sir  John  Kirk,  during  his  residence  in  Zanzibar  as  consul-general, 
formed  a collection  of  ancient  Chinese  celadon  porcelain,  some  of  the 
specimens  having  been  dug  up  from  ruins,  mixed  with  Chinese  coins 
of  the  Sung  dynasty. 

Indeed  it  seems  very  probable  that  porcelain  was  sent  at  least  as  far 
west  as  India  in  the  tenth  century  , or  even  earlier;  for  commercial  rela- 
tions between  China  and  Sumatra  are  stated  to  have  existed  from  the 
T’ienyu  period  (904  to  909)  of  the  T’ang  dynasty,  and  the  name  Sar 
baza,  or  Palembang,  was  known  to  Arab  traders  of  that  time,  as  we  learn 
from  translations  of  their  travels  by  Renaudot  and  Reinaud.  They 
were  also  acquainted  with  Chinese  porcelain,  for  mention  is  made  by 
one  of  them,  Soli  man  by  name,  who  visited  China  toward  the  middle 
of  the  ninth  centuiy,  “of  a very  fine  clay  in  that  country,  of  which 
vases  are  made  having  the  transparence  of  glass;  water  can  be  seen 
through  them.” 2 Indeed  earlier,  during  the  eighth  century,  Arab  writ- 
ers mention  the  presence  in  the  Persian  Gulf  of  fleets  of  large  Chinese* 
junks. 

At  that  date  the  Arab  trade  with  China  was  evidently  exten- 
sive, and  the  colonies  of  Arabs  at  Canton  and  at  Cantu,  the  port  of 
Quinsai  (the  present  Hangchow),  very  large.  They  are  said  to  have 
been  so  numerous  at  the  former  place  in  the  eighth  century  as  to 
have  been  able  to  attack  and  pillage  the  city.  While  at  Canfu  the 
Soliman  above  referred  to  (the  manuscript  account  of  whose  travels 
was  written,  says  his  commentator,  Abu  Zaid  A1  Hasan,  in  A.  D.  851) 


1 F.  Hirth,  Ancient  Chinese  Porcelain,  pp.  45  et  seg. 
2Reinaud’s  translation,  p.  34,  quoted  by  M.  du  Sartel. 


354 


REPORT  OF  NATIONAL  MUSEUM,  1900. 


mentions  the  fact  that  14  a Mohammedan  held  the  position  of  judge  over 
those  of  his  religion,  bv  the  authority  of  the  Emperor  of  China,  who  is 
judge  of  all  the  Mohammedans  who  resort  to  those  parts.  Upon  festival 
days  he  performs  the  public  service  with  the  Mohammedans,  and  pro- 
nounces the  sermon  or  kotbat,  which  he  concludes  in  the  usual  form, 
with  prayers  for  the  Sultan  of  Moslems.  The  merchants  of  Irak — that 
is,  Persia — who  trade  thither  are  no  way  dissatisfied  with  his  conduct 
or  administration  in  this  port,  because  his  decisions  are  just  and  equitable 
and  conformable  to  the  Koran.  ” And  the  commentator  on  these  travels, 
Abu  Said  A1  Hasan,  who  probably  wrote  earlier  in  the  tenth  century, 
when  speaking  of  the  interruption  then  recently  caused  in  4 4 the  ordi- 
nary navigation  from  Siraf  to  China,”/ says  this  to  have  been  occa- 
sioned by  the  revolt  of  4 4 an  officer  who  was  considerable  for  his 
employment,  though  not  of  royal  family,”  named  Baichu.  He  laid 
siege  to  Canfu  in  the  year  of  the  Hegira  264  (A.  D.  885).  4 4 At  last  he 

became  master  of  the  city,  and  put  all  the  inhabitants  to  the  sword. 
There  are  persons  fully  acquainted  with  the  affairs  of  China,  who  assure 
us  that,  besides  the  Chinese  who  were  massacred  on  this  occasion,  there 
perished  120,000  Mohammedans,  Jews,  Christians,  and  Parsees,  who 
were  there  on  account  of  traffic.  The  number  of  the  professors  of 
these  four  religions  who  thus  perished  is  exactly  known,  because  the 
Chinese  are  exceedingly  nice  in  the  accounts  they  keep  of  them.”  1 

Apart,  however,  from  the  sea  route,  porcelain  might  possibly  have 
followed  the  course  of  the  overland  traffic  through  central  Asia,  the 
use  of  which  can  be  traced  back  to  a very  remote  antiquity,  some  au- 
thorities claiming  that  there  are  indications  of  communication  by  this 
route  between  China  and  the  West  so  early  as  2698  B.  C. , and  that  in 
2353  B.  C.  an  embassy  arrived  in  China  from  a country  which  is  sup- 
posed to  have  been  Chaldea.2  There  is,  therefore,  nothing  impossible 
in  the  claim  put  forward  that  a small  ivory-white  plate  having  uncut 
emeralds  and  rubies,  set  in  gold  filigree,  let  into  paste,  and  the  Chinese 
word  fu  (happiness)  marked  on  the  foot  in  the  seal  character  under  the 
glaze,  now  in  the  royal  collection  at  Dresden,  was  brought  into  Europe 
by  a crusader  of  the  twelfth  century;  provided,  of  course,  the  paste, 
glaze,  etc.,  correspond  with  those  which  characterize  the  porcelain 
manufactured  in  China  about  that  date  or  prior  to  it. 

KIND  OF  PORCELAIN  CARRIED  WESTWARD. 

What  then  was  the  porcelain  that  participated  in  this  early  trade? 
Chao  Ju-kua,  in  the  single  instance,  in  which  he  alludes  to  its  color, 
states  it  to  have  been  44  white  and  citing,  or  celadon.”  It  would  almost 
necessarily  have  consisted  of  strong,  coarse  ware,  in  order  to  resist  the 

1 Harris’s  Collection  of  Voyages  (764),  I,  pp.  523  and  530. 

2 Sir  Charles  Wilson’s  Address  before  the  Geographical  Section  of  the  British  Asso- 
ciation, Bath,  1888. 


CERAMIC  ART  IN  CHINA. 


355 


chances  of  breakage  consequent  upon  the  many  transshipments  inci- 
dental to  these  long  voyages  in  the  rude  craft  of  those  early  ages,  and 
to  allow  its  sale  at  the  comparatively  cheap  rates  at  which  it  was  dis- 
posed of  in  Ibn  Batuta’s  day.  Colonel  Yule  has  thought  that  during 
the  Yuan  dynasty  it  probably  came  from  the  Chingte-chen  manufac- 
tories, but  this  scarcely  seems  probable,  for  the  Vao-simo , or  Treatise 
on  Pottery,  says  that  no  porcelain  was  then  made  there,  except  by 
imperial  order  and  for  the  court.  Zaitun — whether  Chinchew,  Chang- 
chow,  or  “the  Amoy  waters”  (Doctor  Douglas’s  compromise  between 
the  two) — as  the  headquarters  of  the  western  trade,  would  naturally 
receive  supplies  for  export  of  Kuan-yccp  and  of  Ko-yao  (both  celadon  in 
color)  from  the  not  far  distant  factories  at  Hangchow  and  Lungch’uan, 
respectively,  as  well  as  from  the  more  distant  factories,  most  of  the 
productions  of  which  were  at  this  time  also  celadons.  And  celadon 
porcelains  bearing  all  the  distinctive  characteristics  of  the  Chinese 
manufactures  of  that  nature  have  been  discovered  in  almost  all  parts 
of  the  then  Mohammedan  world  and  in  the  countries  visited  by  the 
early  Arab  traders. 

Mr.  Carl  Bock,  speaking  in  his  Head  Hunters  of  Borneo  of  the 
Dyak,  says: 

Among  his  greatest  treasures  are  a series  of  gudji  blanga , a sort  of  glazed  jar  im- 
ported from  China,  in  green,  blue,  or  brown,  ornamented  with  figures  of  lizards  and 
serpents  in  relief.  These  pots  are  valued  at  from  100  florins  to  as  much  as  3,000  flor- 
ins (<£8  to  £240)  each,  according  to  size,  pattern,  and,  above  all,  old  age,  combined 
with  good  condition.  According  to  native  legend,  these  precious  vases  are  made 
of  the  remnants  of  the  same  clay  from  which  Mahatcira  (the  Almighty)  made  first  the 
sun  and  then  the  moon.  Medicinal  virtues  are  attributed  to  these  urns,  and  they  are  ' 
regarded  as  affording  complete  protection  from  evil  spirits  to  the  house  in  which 
they  are  stored.  A very  full  account  of  the  various  legends  connected  with  these 
gudji  blanga  is  given  in  Mr.  W.  T.  H.  Perelace’s  most  interesting  work  Ethnographi- 
sche  Beschreibung  der  Dyaks,  pp.  112-120. 1 

Mr.  Bock  saw  Doctor  Hirth’s  collection  of  Lungclruan  celadons, 
and  found  in  it  pieces  resembling  the  ware  preserved  by  the  Dyaks, 

1 The  possession  of  these  vessels  by  the  Dyaks,  their  use  and  value,  are  also  chron- 
icled by  earlier  travelers.  The  belief  in  the  efficacy  of  porcelain  vessels  to  detect* 
poison  in  l iquids  contained  in  them  is  of  ancient  date  and  not  confined  to  Asia  alone, 
though  the  manner  in  which  the  porcelain  was  affected  by  the  presence  of  poison 
appears  to  have  varied  in  different  cases.  Thus,  Guido  Pancirolli,  the  learned  juris- 
consult and  antiquary  of  Padua  (d.  1599),  and  his  editor,  Salmutti  (Guidonis  Pan- 
cirolli, J.  C.,  Claris,  rerum  memorabilium  libri  duo;  ex  Italico  Latine  redditi  et  eotis 
illustrati  ab  Henrico  Salmutti,  Antwerp,  1612)  say  that  the  presence  of  poison 
caused  the  porcelain  either  to  break  or  to  change  color;  while  Dumont,  in  his  Trav- 
els in  Turkey,  1699,  says  that  it  caused  the  liquid  to  effervesce  in  the  center  while 
it  remained  cool  hear  the  vessel  itself,  the  Turks,  owing  to  this  property,  preferring 
porcelain  to  silver  as  the  material  of  dinner  services.  Salmutti  mentions  the  presen- 
tation to  himself  of  one  of  these  vessels  by  an  Austrian  prince,  and  Paul  Hentzner 
(Itnerarium  Gallic,  Anglise,  Italise,  1616)  says  he  saw  some  of  them  in  the  Farnese 
Palace  at  Rome. 


356 


REPORT  OF  NATIONAL  MUSEUM,  1900. 


but  specimens  are,  it  appears,  common  among  them  which  bear  no 
resemblance  to  any  of  the  celebrated  monochrome  wares  of  the  Sung 
and  Yuan  dynasties,  a fact  Doctor  Hirth  would  explain  by  supposing 
that  “the}^  came  from  factories  equally  old,  but  less  renowned,  such 
as  the  place  where  the  Chien-yao  of  the  Sung  dynasty  was  made,  the 
city  of  Chien-yangin  the  north  of  Fukien,  which  is  all  the  more  likely^ 
since  Chao  Ju-kua,  in  his  description  of  the  trade  with  Borneo,  spe- 
cialty mention  4 brocades  of  Chien-yang’  among  the  articles  of  import 
there.”  1 

A controversy  has,  however,  recently  arisen  as  to  whether  the  cela- 
don vases  found  throughout  the  Mohammedan  world  are  really  of  Chi- 
nese origin  at  all.  Professor  Karabacek,  an  Arabic  scholar  of  Vienna, 
maintains  that  the  <e  large,  heavy,  thick,  green  celadon  dishes  with  the 
well-known  ferruginous  ring  on  the  bottom,  which  have  been  found 
spread  over  all  the  countries  of  Arab  civilization,”  are  not  of  Chinese 
origin,  basing  his  theory  mainly  on  the  statement  made  by  Hadschi 
Chalfa,  an  encyclopedist  who  died  in  1658,  that  “the  precious  mag- 
nificent celadon  dishes  and  other  vessels  seen  in  his  time  were  manu- 
factured and  exported  at  Martaban,  in  Pegu.”  The  Arab  designation 
Martabani  is  applied  by  Professor  Karabacek  to  the  thick,  heavy  cela- 
dons, It  would,  however,  appear  to  have  been  also  applied  to  a variety 
of  entirely  different  character. 

Jacquemart,  in  his  History  of  the  Ceramic  Art,  quotes  Chardin’s 
Voyages  en  Perse  as  follows:  “Everything  at  the  King’s  table  is  of 
massive  gold  or  porcelain.  There  is  a kind  of  green  porcelain  so  pre- 
cious that  one  dish  alone  is  worth  400  crowns.  They  say  this  porcelain 
detects  poison  by  changing  color,  but  that  is  a fable;  its  price  arises 
from  its  beauty  and  the  delicacy  of  the  material,  which  renders  it  trans- 
parent although  above  two  crowns  in  thickness,”  and  then  adds:  “This 
last  peculiarity  has  a great  importance.  It  is  impossible  to  suppose 
travelers  would  here  allude  to  the  sea-green  celadon — this,  laid  upon  a 
brown,  close  paste  approaching  stoneware,  is  never  translucent.  In 
the  martabani , on  the  contrary,  a thin,  bright,  green  glaze  is  applied 
upon  a very  white  biscuit,  which  allows  the  light  to  appear  through. 
* * * Its  name  leaves  no  doubt  of  its  Persian  nationality.  Marta- 

ban ( Mo-ta-ma ) is  one  of  the  sixteen  states  which  composed  the  ancient 
Kingdom  of  Siam;  it  would  not  be  impossible,  then,  that  we  must 
restore  to  this  kingdom  the  porcelain  mentioned  in  the  Arabian  story.” 

No  porcelain,  however,  is  known  to  have  been  made  at  Moulmien 
(Martaban),  Bangkok,  or  Burma,  and  the  burden  of  evidence  is 
strongly  against  Professor  Karabacek’s  contention  of  a non-Chinese 
origin  for  the  martabani  or  celadon  porcelain.  Probably  the  designa- 
tion martabani  was  applied  to  this  ware  in  much  the  same  manner  as 


F.  Hirth,  Ancient  Chinese  Porcelain,  p.  50. 


CERAMIC  ART  IN  CHINA. 


357 


44  Combronware  ” was  applied  in  England  after  1623  to  porcelains 
brought  from  China  to  that  port  on  the  Persian  Gulf,  and  purchased 
there  for  shipment  home  by  the  factoiy  of  the  India  Compan}"  before 
it  extended  its  operations  to  China  (when  these  products  came  to  be 
termed  “ Chinaware”),  or  in  the  same  manner  that  44  Indian  China” 
is  applied  in  America  to  porcelain  shipped  from  Canton,  and  with  as 
much  reason. 

Indeed,  M.  du  Sartel,  in  accord  with  most  other  writers  on  the  sub- 
ject, maintains  that  no  true  porcelain  was  produced  in  Persia  at  all, 
and  that  the  designation  of  such  ware  Tchini  not  only  means  that  the 
earliest  specimens  and  mode  of  manufacture  were  of  Chinese  origin, 
but  that  they  one  and  all  actually  came  from  China.  The  Persians,  it 
is  true,  manufactured  a kind  of  ware  which  has  been  designated  4*  Per-, 
sian  porcelain,"  but  it  was  of  so  soft  a nature  that  it  could  be  not  only 
scratched,  but  actually  cut,  with  a.  knife,  and  was  entirely  distinct 
from  hard,  kaolinic  porcelain.  The  supplies  of  the  latter  were,  M.  du 
Sartel  maintains,  derived  entirety  from  China,  to  which  country  mod- 
els, shapes,  and  special  kinds  of  ornamentation  were  sent  for  repro- 
duction, a custom  which  sufficiently  explains  the  presence  of  a Persian 
name,  or  the  word  ferrnaiche  (44  by  order  ”),  written  in  Arabic  charac- 
ters, upon  porcelain  of  undoubtedly  Chinese  origin. 

This  opinion  requires,  I apprehend,  further  investigation  prior  to  its 
acceptance  as  fact.  It  is,  however,  recorded  that  Shah  Abbas  I,  a great 
patron  of  all  the  arts,  about  the  year  1600  invited  a number  of  Chinese 
potters  to  establish  themselves  at  Ispahan  for  the  sake  of  introducing 
improvements  in  the  manufacture  of  porcelain.  Though  several  new 
methods  were  adopted,  and  though  a new  style  of  decoration,  half 
Chinese,  half  Persian,  was  largely  used  for  a long  period  after  the  arri- 
val of  these  potters,  it  is  generally  admitted  that  no  hard  porcelain 
resembling  that  of  China  was  even  then  produced  in  Persia.  And  one 
can  not  help  being  struck  by  the  strong  similarity,  amounting  practi- 
cally to  identity,  between  the  vases  contained  in  the  cases  devoted  to 
so-called  Persian  porcelain  in  the  Dresden  collection  and  certain  other 
vases  in  the  same  collection  which  are  classed  as  Chinese. 

CHINESE  AND  EUROPEAN  SYSTEMS  OF  MANUFACTURE  COMPARED. 

Whatever  the  variety  of  the  Chinese  porcelain  was  which  constituted 
so  important  a factor  in  this  early  Arab  trade,  and  whatever  the  date 
at  which  it  made  its  first  appearance  in  Europe,  specimens  of  it  had, 
prior  to  the  beginning  of  the  second  half  of  the  seventeenth  century, 
found  a place  in  the  collections  of  princes  alone.  About  that  time, 
however,  Chinese  porcelain  became  more  generalty  known,  and  the 
fine  quality  of  the  glaze,  its  transparency,  and  the  brilliant  style  of  its 
decoration  excited  universal  admiration.  Strenuous  efforts  were  at 
once  made  on  all  sides  to  discover  the  secret  of  its  manufacture,  but 


358 


REPORT  OF  NATIONAL  MUSEUM,  19G0. 


these  researches,  though  resulting  indirectly  in  other  discoveries  and 
in  great  progress  in  the  European  manufacture,  were  not  crowned  with 
success.  They  had,  in  fact,  led  to  the  creation,  in  France  and  England, 
of  soft  porcelain,  which,  if  in  some  respects  superior  to  the  Chinese 
porcelain  from  a decorative  point  of  view,  was  also  more  fragile  and 
more  easily  scratched  than  the  latter.  This  soft  porcelain  was  made  in 
France,  at  St.  Cloud  perhaps  about  1695,  at  Chantilly  in  1735,  at  Vin- 
cennes in  1740,  and  at  Sevres  in  1756;  and  in  England,  at  Chelsea  in 
1745,  at  Derby  in  1748,  and  at  Worcester  in  1751.  Recourse  was  then 
had  to  the  Jesuit  missionaries  in  China,  with  the  result  of  obtaining  the 
valuable  letter  from  P.  d’Entrecolles,  dated  1712,  supplemented  ten 
years  later  by  further  details.  The  difficulty  incident  to  translating* 

^ g 

technical  Chinese  expressions,  combined  with  want  of  acquaintance  with 
chemistry  on  the  part  of  the  author,  as  well  as  the  primitive  condition 
of  that  science  more  than  one  hundred  and  fifty  years  ago,  prevented 
the  practical  use  of  the  information  supplied  by  P.  d’Entrecolles.  An 
attempt  was  made  to  secure  the  knowledge  desired  by  obtaining  speci- 
mens of  the  materials  employed.  The  fact,  however,  that  these  were 
sent  either  in  a partially  fused  state  or  in  the  forms  of  several  almost 
impalpable  powders  mixed  together  prevented  a recognition  of  their 
real  nature. 

What  it  had  been  impossible  to  learn  by  direct  inquiry  was,  however, 
discovered  by  chance.  In  1718  Bottger  found  an  important  bed  of 
white  and  plastic  clay  in  Saxony,  and  with  it  made  the  first  uhardn 
porcelain  manufactured  in  Europe.  The  government  had  this  bed 
carefully  guarded,  imposed  oaths  of  secrecy  upon  the  staff  employed, 
had  a strict  account  kept  of  all  the  clay  taken  out,  ana  transported  it 
under  armed  convoy  to  Albrechtsburg,  the  place  of  manufacture, 
which  was  converted  into  a veritable  fortress.  In  spite,  however,  of 
these  precautions  the  secret  leaked  out  in  course  of  time,  and  with  it 
the  clay  also,  to  Vienna  and  St.  Petersburg.  Later,  in  1765,  Guettard 
discovered  in  France  the  kaolin  of  Alenqon,  and  Macquer,  three  years 
later,  found  the  remarkable  beds  of  Saint- Yrieix. 

The  History  of  the  Porcelain  manufactories  at  Chingte-chen,  trans- 
lated by  M.  Julien,  containing  as  it  does  a detailed  account  of  the  pro- 
cedure followed  there,  permits  a comparison  between  the  systems 
employed  in  China  and  in  Europe.  In  view  of  the  interest  attaching 
to  such  a comparison  no  apology  is  needed  for  the  following  brief  notes 
on  that  subject,  based  chiefly  upon  the  preface  to  M.  Julien’s  work 
from  the  pen  of  M.  Salvetat,  a member  of  the  directory  of  the  govern- 
ment manufactory  at  Sevres: 

COMPOSITION  OF  PORCELAIN. 

Porcelain  is  composed  of  two  parts — the  one,  infusible,  the  paste 
( pate ),  which  is  required  to  supply  the  body  of  the  vessel,  or,  as  the 


CERAMIC  ART  IN  CHINA. 


359 


Chinese  term  it,  to  give  it  “bone;”  the  other,  fusible,  the  glaze  {gla<?~ 
ure , couverte ),  which  imparts  its  characteristic  transparency  to  porce- 
lain and  at  the  same  time  prevents  the  vessel  retaining  its  porousness 
or  contracting  under  the  influence  of  heat. 

The  principal  ingredients  of -the  paste  are  clays,  which  are  classed 
according  to  their  greater  or  less  degree  at  the  same  time  of  plasticity 
and  fusibility.  The  porcelain  clay  par  excellence  is  kaolin,  a white 
aluminum  silicate  produced  by  the  decomposition  of  granitic  or  felds- 
pathic  rocks,  almost  infusible,  and  if  not  always  perfectly  white  by 
nature,  losing  its  tint  in  the  kiln.  It  derives  its  name  originally  from 
that  of  the  hill  whence  the  manufactories  at  Chingte-chen  procured 
their  supply  of  this  cky".  The  main  object  of  the  glaze  is,  as  has 
been  said,  while  securing  transparency,  to  prevent  the  paste  remaining 
porous.  Now,  the  substances  unaffected  by  water  but  fusible  by  fire 
are  quartz,  silica,  certain  limestones,  pegmatite,  feldspar,  silex,  and 
the  compounds  resulting  from  a superficial  fusion  of  these  substances, 
which  are  then  reduced  to  a fine  powder.  The  relative  proportion  of 
these  substances  in  the  composition  of  the  glaze  may  be  raised  at  will 
with  a corresponding  diversity  of  result— M.  Brogniart  dividing  the 
compound  into  three  classes,  each  subdivided  into  three  groups. 

Inordinary  language  porcelain  is  classified  under  two  grand  divisions, 
hard  paste  and  soft  paste — la  pate  dure  and  la  pate  tendre.  The  latter  is 
characterized  b}^  the  presence,  either  naturally  or  artificially , of  limestone 
products  or  alkalies,  either  in  the  condition  of  phosphates  or  in  that  of 
marl  or  chalk,  which  lower  its  degree  of  fusibility,  so  that  it  becomes  fus- 
ible or  at  least  soft  at  a temperature  of  800°  C.  The  absence  of  these 
matters  in  the  hard  paste  causes  it  to  retain  its  original  consistency  in 
far  greater  heat,  and  it  can  resist  a temperature  of  1,500°  C.,  or  above. 
Upon  these  two  divisions  are  grafted  several  minor  ones  determined 
b}T  the  kind  of  glaze,  which,  according  to  its  composition  and  mode  of 
application,  is  termed  vernis , email , or  couverte.  After  unglazed  tiles 
and  bricks,  the  primitive  thin  glaze,  vernis , i&  found  on  the  pottery  of  the 
Etruscans,  ancient  Arabs,  Persians,  and  the  early  inhabitants  of 
America;  then,  on  that  manufactured  in  Germany  and  Italy  in  the 
fourteenth  century,  a sort  of  transparent  glass  with  a foundation  of 
lead— a glaze  still  common  in  counfay  productions.  Later,  in  the 
fifteenth  century,  the  true  white  enamel,  email , a mixture  of  salt,  of 
lead  and  tin,  the  thickness  of  which  concealed  the  color  of  the  paste, 
was  discovered  in  Italy  and  gained  immortality  for  Luca  della  Robbia, 
of  Florence,  and  Oragio  Fontana,  of  Pesaro.  In  this  categoiy  also 
belong  the  majolicas,  faenza,  the  faiences  of  Nurnberg,  Bernard 
Palissy’s  pottery,  the  faiences  of  Nevers,  Rouen,  and  other  places, 
ancient  and  modern.  The  couverte  is  confined  to  porcelain  proper. 

Crude  Chinese  kaolin,  when  cleansed  by  washing  out  its  impurities, 
and  ready  for  use  in  making  the  paste,  gives  a veiy  white  clay,  soft  to 


360 


REPORT  OF  NATIONAL  MUSEUM,  1900. 


the  touch,  possessing  a plasticity  veiy  similar  to  that  of  Saint  Yrieix, 
which  is  derived  from  decomposed  pegmatite.  The  residue  left  by  the 
washing  contains  a good  deal  of  quartz,  crystals  of  feldspar  partially 
decomposed,  and  flakes  of  mica,  as  would  be  found  in  graphic  granite. 
Analysis  shows  that  the  fusible  portion  consists  chiefly  of  petrosilex 
and,  by  its  composition  and  density,  closety  resembles  the  rock  found 
in  abundance  at  Saint  Yrieix,  which,  without  addition,  furnishes  the 
glaze  for  hard  porcelain  at  Sevres. 

The  composition  of  Chinese  and  of  the  most  celebrated  of  European 
porcelains  ma}r  be  compared  in  the  following  table: 


[Average  of  six  analyses.] 


Constituents. 

Chinese. 

Sevres. 

Foecy. 

Paris. 

Limoges. 

Vienna. 

Saxony. 

Silica 

69. 20 

58. 00 

66. 20 

71.90 

70.20 

57. 70 

58. 10 

Alumina 

22.60 

84,50 

28. 00 

22.00 

24.00 

36.80 

36.70 

Oxide  of  iron. 

1. 60 

0.  70 

0.80 

0.70 

0.70 

0. 70 

Lime 

0.65 

4.50 

Trace. 

0. 80 

0.70 

1.60 

0.70 

Magnesia 

Trace. 

Trace. 

0. 10 

1.40 

0.40 

Alkalies 

5.  60 

3.00 

5.10 

4.50 

4.30 

1.80 

3.40 

Total 

1 

100. 00 

100. 00 

100.00 

100. 00 

100. 00 

100. 00 

Thus,  generally  speaking,  Chinese  porcelain  contains  more  silica  and 
less  alumina  than  do  the  products  of . the  manufactories  of  • Sevres, 
Vienna,  and  Saxony,  respectively.  The  effect  of  the  presence  in  greater 
or  less  degree  of  these  components  is  well  known  by  the  Chinese,  who 
say  that  to  produce  fine  porcelain  the  ratio  of  alumina  must  be  increased; 
to  produce  the  commoner  kinds  that  of  silica  must  be  increased,  in 
Europe  experience  has  taught  the  same  results.  The  porcelain  of  com- 
merce shows  much  the  same  composition  as  do  the  specimens  of  Chinese 
analyzed  by  M.  Salvetat,  also  presumably  ordinary  ware  and  not  the 
finest  grades  intended  for  imperial  use,  while  in  the  three  government 
establishments  mentioned  a larger  ratio  of  alumina  is  introduced, 
because  it  resists  high  temperatures  and  is  therefore  necessaiy  to  enable 
the  designs  painted  to  maintain  their  sharpness  of  outline.  In  some 
cases  the  Chinese  also  employ  ferruginous  kaolins,  which  sensibly 
diminish  the  value  of  the  manufactured  article. 


SHAPING  THE  PASTE. 

In  China  the  paste  is  roughly  shaped,  is  turned,  and  is  moulded  when 
in  a malleable  state,  in  much  the  same  manner  as  in  Europe.  Casting 
or  moulage  en  barbotine  appears  to  be  unknown  in  China.  The  absence 
of  this  process,  which  has  enabled  European  artists  to  produce  such 
grand  results,  only  increases  our  admiration  of  the  manual  dexterity 
which  has  enabled  the  Chinese  to  manufacture  such  numbers  of  jars  of 
large  dimensions  and  cups  so  thin  as  egg-shell  porcelain,  which  can 


CERAMIC  ART  IN  CHINA. 


361 


now,  or  could  at  least  when  M.  Salvetat  wrote,  only  be  produced  at 
Sevres  by  casting.  The  sculpture,  the  hollowing  out,  the  shaping, 
etc. , are  practiced  also  in  China  in  much  the  same  manner  as  in  Europe. 
Among  the  happiest  effects  produced  in  this  line  are  engraving  in  the 
paste,  sculpture  in  relief  on  the  paste,  and  the  open  work  which  the 
French  term  pieces  reticulees. 

One  peculiarity  of  the  Chinese  system  is  the  method  of  completing 
the  foot  in  the  unbaked  state  and  after  being  covered  with  glaze.  This 
custom  of  laying  on  the  glaze  before  the  article  has  been  completed, 
the  method  in  which  the  glaze  is  applied,  and  the  composition  of  the 
glaze  present,  perhaps,  the  greatest  contrasts  with  the  corresponding 
manipulations  employed  in  Europe.  It  is  certainly  curious  that  the 
Chinese  after  a practical  experience  extending  through  so  many  cen- 
turies should  be  ignorant  of  the  advantages  to  be  derived  from  sub- 
mitting the  article  to  a slight  baking  before  applying  the  glaze,  which 
is  then  in  a condition  termed  by  the  French  Vetat  degourdi.  Porcelain 
earth,  like  other  clays,  is  dilutable  by  water,  but  it  ceases  to  be  so 
after  exposure  to  a temperature  which  makes  it  red.  On  this  property 
is  based,  in  Europe,  an  expeditious  and  easy  method  of  covering  porce- 
lain with  glaze.  The  porcelain  having  been  rendered  indissoluble  and 
absorbent  by  a preliminary  slight  baking,  it  may  be  covered  with  a 
uniform  layer  of  suitable  thickness  by  a simple  immersion  in  water 
holding  the  finely  crushed  material  in  suspension,  provided  that  the 
proportions  of  water  and  glaze  (relatively  to  the  thickness  of  the  ves- 
sel to  be  covered)  have  been  duly  determined.  The  failure  to  employ 
this  process  is  the  more  curious  since,  from  Mr.  Hoffman’s  sketch  of 
the  Japanese  system  of  manufacture  appended  to  M.  Julien’s  work,  it 
appears  that  in  that  country  the  glaze  is  applied  to  porcelain  after 
preliminary  baking. 

GLAZE. 

In  Europe  porcelain  glaze  is  generally  composed  of  pure  pegmatite, 
finely  crushed  and  applied  by  immersion  after  a preliminary  baking. 
In  Germany  other  substances,  such  as  kaolin  or  paste,  have  been  added 
to  diminish  its  fusibility,  but  at  Sevres  pegmatite  from  Saint  Yrieix  is 
alone  used.  The  addition  of  lime  in  forming  the  glaze  is  a rare  excep- 
tion in  Europe.  In  China,  on  the  contrary,  pure  petrosilix  is  but  very 
seldom  used  for  this  purpose.  The  greater  part  of  Chinese  and  Japan- 
ese porcelains  is  covered  with  compound  glazes,  obtained  by  a mixture 
of  substances  of  which  the  proportions  vary  according  to  the  nature 
of  the  article,  lime  being  the  material  added  to  the  petrosilix  to  ren- 
der it  more  easily  fusible;  and,  in  some  cases,  the  ratio  added  is  so  large 
that  it  represents  a fourth  of  the  total  weight.  In  the  preparation  of 
the  glaze,  the  use  of  fern  leaves  is  sometimes  mentioned.  The  residue 
of  the  leaves  after  burning  appears,  however,  to  be  cast  aside,  and 
what  purpose  these  leaves  exactly  served  has  never  been  determined, 
NAT  mus  1900 26 


362 


REPORT  OF  NATIONAL  MUSEUM,  1900. 


As  regards  the  manner  of  applying  the  glaze  the  Chinese,  as  has 
been  shown,  are  ignorant  of  the  method  of  subjecting  the  porcelain  to 
a preliminary  baking  and  then  utilizing  the  want  of  porousness  thus 
gained  to  immerse  the  vessel  in  the  liquid  glaze.  Instead,  they  apply 
it  by  aspersion  and  immersion  or  by  insufflation.  For  example,  take 
a cup.  It  is  held  by  the  outside  slanting  over  a basin  containing  the 
liquid  glaze.  Sufficient  of  the  glaze  is  then  thrown  on  the  inside  to 
cover  the  surface.  This  is  aspersion.  The  outside  is  then  immersed 
in  the  liquid,  the  workman  dexterously  keeping  the  vessel  in  equilib- 
rium with  the  hand  and  a small  stick.  The  foot  having  remained  in 
its  original  state,  the  cup  is  then  carried,  covered  as  it  is  with  glaze, 
to  the  wheel  that  the  foot  may  be  hollowed  and  finished;  a mark  in 
color  is  added  on  the  hollowed  portion,  which  is  then  covered  with  glaze. 
When  the  ware  is  too  delicate  to  be  treated  in  this  manner,  the  glaze 
is  applied  by  insufflation.  A piece  of  gauze  attached  to  a hollow  tube 
having  been  plunged  in  the  colored  glaze  (red  or  blue)  or  uncolored 
glaze,  the  workman  scatters  the  liquid  from  the  gauze  on  to  the  vessel 
by  blowing  through  the  opposite  end  of  the  tube  three,  four,  or  even 
as  many  as  eighteen  times. 

BAKING. 

The  porcelain  being  then  ready  for  baking,  it  is  taken  to  the  kilns, 
which  are  usually  situated  at  some  distance  from  the  workshops  and 
belong  to  persons  whose  sole  occupation  is  to  superintend  the  baking. 
The  large  pieces  are  placed  one  by  one  in  a separate  seggar  made  by 
hand,  covers  being  dispensed  with  by  piling  the  seggars  one  on  another. 
Several  of  the  smaller  pieces  are  placed  in  the  same  seggar,  the  floor 
under  each  being  covered  with  a layer  of  sand  and  kaolin  refuse  to  pre- 
vent adhesion.  The  porcelain  being  still  in  a soft  state,  great  care  must 
be  exercised  in  placing  it  in  its  seggar.  It  is  not  touched,  therefore, 
with  the  hand,  but  transferred  into  the  seggar  by  an  ingenious  contriv- 
ance of  cords  and  sticks.  The  bottom  of  the  kiln  is  filled  with  a thick 
layer  of  gravel  on  which  the  seggars  are  piled,  those  under  the  chim- 
ney, the  two  seggars  at  the  bottom  of  each  pile,  and  that  at  the  top 
being  left  empty,  as  their  contents  would  not  be  thoroughly  baked. 
The  finest  pieces  are  placed  in  the  center,  those  with  harder  glaze  at 
the  entry  near  the  hearth,  and  the  coarsest  farthest  in.  The  piles  are 
strongly  bound  together,  and,  the  stacking  of  the  oven  being  completed, 
the  door  is  bricked  up.  From  the  description  given  of  the  kilns  by 
P.  d’Entrecolles  it  appears  that  they  are  much  the  same  as  those  used 
in  early  times  at  Vienna  and  Berlin. 

After  the  baking  begins  a low  fire  is  kept  up  for  twenty-four  hours, 
which  is  then  followed  by  one  more  powerful.  At  the  top  of  the  kiln 
are  four  or  five  small  holes  covered  with  broken  pots,  one  of  which  is 
opened  when  it  is  thought  the  baking  is  completed,  and  by  means  of 


CERAMIC  ART  IN  CHINA. 


363 


pincers  a cage  is  opened  to  test  the  condition  of  the  porcelain.  The 
baking  ended,  firing  is  stopped  and  all  openings  closed  during  a period 
of  three  or  five  days,  according  to  the  size  of  the  pieces,  when  the  door 
is  opened  and  the  articles  removed. 

To  bake  porcelain  decorated  with  soft  colors  or  du  demi-grand  feu 
two  kinds  of  kilns  are  used — one  open,  the  other  closed — the  former  of 
which  bears  a close  resemblance  to  the  enameler’s  kiln  {moufle).  This 
kind  of  furnace  has  been  used  in  Germany  to  bake  painted  porcelain; 
but  even  in  China  the  liability  to  breakage  coniines  its  use  to  articles 
of  small  size.  The  large  pieces  are  baked  in  closed  kilns,  the  general 
arrangement  of  which  resembles  that  of  the  kilns  known  as  moufles, 
but  being  circular  in  form,  they  are  really  p^celain  kilns  of  small  size. 

DECORATIONS. 

In  the  decoration  of  European  porcelain  one  of  three  methods  is 
followed:  (a)  The  use  of  paste  of  different  colors;  (b)  the  introduction 
of  the  coloring  matter  in  the  glaze;  (c)  the  application  of  the  colors 
upon  the  white  surface  of  the  porcelain.  The  two  former  methods 
require  the  application  of  a temperature  as  high  as  that  necessary  to 
bake  the  porcelain;  they  are  therefore  termed  colors  du  grand  feu. 
The  third  method  requires  for  the  vitrifaction  of  the  colors  a much 
lower  temperature;  the  colors  used  are  therefore  termed  de  moufle , or 
of  the  enameler’s  furnace.  It  is  the  use  of  this  latter  system  which 
permits  the  reproduction  with  exactness  of  the  works  of  celebrated  oil 
painters. 

The  substances  employed  in  the  decoration  of  porcelain  in  China  may 
be  divided  into  two  similar  categories,  colors  du  grand  feu  and  de 
moufle. 

Colors  du  grand  feu. — The  varieties  of  the  grounds  in  these  colors 
have  played  probably  as  important  a part  in  the  high  reputation  gained 
by  Chinese  porcelain  as  have  the  originality  and  rich  harmony  of  the 
designs.  The  blue  decoration  under  the  glaze  is  made  with  the  brush 
on  the  unbaked  porcelain,  the  coloring  matter  being  peroxide  of* 
cobaltiferous  manganese,  the  shade,  dark  or  light,  depending  on  the 
quantity  used,  and  the  greater  or  less  trending  toward  violet  on  the 
richness  of  the  ore  in  cobalt.  It  resists  the  lire  well,  retaining  great 
distinctness  and  at  lower  temperatures  than  are  necessary  at  Sevres. 
Celadon  and  the  red  grounds,  at  times  showing  an  orange,  at  others  a 
violet  shade,  had  not  been  successfully  reproduced  in  Europe  when 
M.  Salvetat  wrote  in  1855,  and  he  considered  their  production  in  China 
as  due  rather  to  accident  than  design.  The  justice  of  this  view  is, 
however,  perhaps  open  to  question,  for  the  Chinese  appear  to  have 
at  least  an  empirical  knowledge  of  the  conditions  necessary  to  produce 
these  colors,  though  the}r  are  unable  in  all  cases  to  ensure  those  con- 
ditions. The  fond  laque  01 ' feuille  morte  is  obtained  by  the  use  of  oxide 


364 


REPORT  OF  NATIONAL  MUSEUM,  1900. 


of  iron,  the  amount  of  that  metal  and  the  nature  of  the  gas  surrounding 
the  vessel  in  the  kiln  determining  the  tone  of  the  color  from  a light 
shade  to  one  resembling  bronze,  and  warmth  of  color  being  obtained  by 
an  oxidizing  atmosphere.  Black  grounds  are  produced  in  a variety  of 
ways,  either  by  the  thickness  of  the  colored  glaze,  or  by  laying  several 
shades  of  different  colors  one  on  the  other,  or,  again,  b}^  laying  a blue 
glaze  on  a brown  laque , or  vice  versa. 

M.  Salvetat  writes  that  among  the  colors  for  the  ground  employed 
in  China  some  are  evidently  applied  upon  the  biscuit;  that  is,  porce- 
lain already  fired  at  a high  temperature.  These  are  violet , turquoise 
blue,  yellow , and  green , all  containing  a pretty  large  proportion  of 
oxide  of  lead;  and,  vitrifying  as  they  do  at  a medium  temperature, 
hold  a place  half  way  between  the  two  main  categories  and  ma}"  be 
therefore  termed  colors  du  demi-grand  feu.  Nothing  approaching 
these  colors,  he  says,  is  produced  in  Europe.  To  do  so,  however, 
wmuld  not  be  difficult,  the  green  and  turquoise  blue  owing  their  colors 
to  copper,  the  }7ellowT  to  lead  and  antimony,  and  the  violet  to  an  oxide 
of  manganese  containing  but  little  cobalt. 

Colors  de  moufle. — In  Europe  these  colors  are  obtained  by  mixing- 
one  oxide  or  several  metallic  oxides  together  with  a vitreous  flux,  the 
composition  of  which  varies  with  the  nature  of  the  color  to  be  devel- 
oped. That  most  generally  used  is  termed  u the  flux  for  grays.”  It 
serves  not  only  for  grays,  however,  but  also  for  blacks,  reds,  blues, 
and  yellows,  and  is  composed  of  six  parts  of  minium,  two  parts  of  sili- 
cious  sand,  and  one  j^art  of  melted  borax.  The  colors  are  obtained  by 
mixing  by  weight  one  part  of  metallic  oxide  with  three  parts  of  the 
flux,  so  that  the  composition  may  be  expressed  thus: 


Silica 16.  7 

Oxide  of  lead 50.  0 

Borax 8.  3 

Coloring  oxides ....  25.  0 


100.0 

In  cases  where,  as  with  oxide  of  cobalt,  the  colors  are  produced  by 
mixture  with  the  flux  and  ought  to  have  the  required  shade  when 
applied,  the  metallic  oxides  are  melted  with  the  flux  prior  to  use;  in 
those,  however,  where  the  desired  color  is  that  inherent  in  the  oxide, 
the  tone  of  which  would  be  changed  b}^  a double  exposure  to  fire,  as  is 
the  case  with  reds  derived  from  iron  peroxide,  the  union  with  the  flux 
by  melting  is  dispensed  with.  The  colors  so  made  suffice  to  permit 
the  reproduction  on  porcelain  of  oil  paintings;  but  it  is  essential  that 
they  all  melt  at  the  same  temperature  and  after  baking  present  a suffi- 
cient and  thoroughly  uniform  glaze. 

In  Chinese  decorations  these  conditions,  insisted  upon  in  Europe, 
are  both  absent.  Some  colors,  such  as  the  rose  tints  derived  from  gold,, 
the  blues,  greens,  and  yellows,  are  brilliant,  thoroughly  melted,  and  so 


CERAMIC  ART  IN  CHINA, 


365 


thick  as  to  stand  out  above  the  general  level  of  the  surface;  others, 
such  as  the  reds  derived  from  iron  and  the  blacks,  are  much  thinner,  and 
are  almost  always  quite  dull  or  only  slightly  glazed  when  thin.  The 
style  of  painting  in  Chinese  differs  entirely  from  the  European.  In 
the  majority  of  the  specimens  the  forms  and  flesh  are  not  modeled; 
strokes  of  black  or  red  define  the  outlines;  the  tones  do  not  shade; 
the  colors  are  laid  in  flat  tints  on  which  a damask  is  sometimes  drawn 
afterwards,  either  in  the  same  or  in  different  colors,  but  the  mixture  on 
the  palette  of  different  crushed  colors,  which  permits  of  so  much  variety 
in  European  painting,  appears  not  to  be  practiced  by  them.  Their 
colors  (as  indeed  seemed  probable  from  the  lightness  of  the  shades 
obtained,  in  spite  of  their  thickness  before  analysis  had  confirmed  the 
presumption)  contained  far  less  coloring  matter  than  do  the  European, 
a peculiarity  which  makes  them  approach  nearer  to  the  vitrified  sub- 
stances known  as  enamel  than  to  any  other.  They  are  characterized 
by  great  simplicity  and  a considerable  degree  of  uniformity. 

The  flux,  which  is  not  distinct  in  color,  is  always  composed  of  silica,  of 
oxide  of  lead  in  but  slightly  varying  proportions,  and  of  a larger  or 
smaller  quantity  of  alkalies  (soda  and  potash).  This  flux  contains  in 
dissolution,  in  the  conditions  of  silicates,  some  hundredths  parts  only 
of  coloring  oxides.  The  number  of  these  is  very  small,  being  oxide 
of  copper  for  greens  and  bluish-greens,  gold  for  the  reds,  oxide  of 
cobalt  for  the  blues,  oxide  of  antimony  for  the  yellows,  and  arsenical 
acid  and  stannic  acid  for  whites.  Oxides  of  iron  to  produce  red  and 
oxides  of  impure  manganese  to  produce  black  are  not  used,  because, 
no  doubt  these  colors  can  not  be  obtained  from  the  oxides  named  by 
means  of  dissolution. 

In  Europe,  in  addition  to  the  oxides  already  mentioned,  important 
results  are  obtained  from  substances  unknown  in  China.  The  shade 
derived  from  pure  oxide  of  cobalt  is  modified  by  mixing  with  it  oxide 
of  zinc  or  alumina,  and  sometimes  alumina  and  oxide  of  chromium; 
pure  oxide  of  iron  gives  a dozen  reds,  shading  from  orange-red  to  very 
dark  violet;  ochers,  pale  or  dark,  yellow  or  brown,  are  obtained  by  the 
combination  in  different  proportions  of  oxide  of  iron,  of  oxide  of  zinc, 
and  of  oxide  of  cobalt  or  nickel;  browns  are  produced  by  increasing  the 
amount  of  oxide  of  cobalt  contained  in,  and  blacks  b}^  omitting  the  oxide 
of  zinc  from,  the  composition  which  gives  the  ochers.  The  shades  of 
yellow  are  varied  b}^  the  addition  of  oxide  of  zinc  or  of  tin  to  render  them 
lighter,  and  of  oxide  of  iron  to  render  them  darker.  Oxide  of  chro- 
mium, pure  or  mixed  with  oxide  of  cobalt  or  with  oxides  of  cobalt 
and  of  zinc,  gives  yellow-greens  and  bluish-greens,  which  may  be  made 
to  vary  from  pure  green  to  almost  pure  blue.  Metallic  gold  supplies 
the  purple  of  Cassius,  which  may  be  changed  at  will  into  violet,  purple, 
or  carmine.  Other  useful  colors  are  obtained  from  oxide  of  uranium 
and  from  chromate  of  iron,  of  barium,  and  of  cadmium. 

In  European  colors  all  these  coloring  matters  are  merely  mixed.  In 


366 


REPOET  OF  NATIONAL  MUSEUM,  1900. 


the  Chinese  the  oxides  are,  on  the  contrary,  dissolved.  This  peculiarity, 
no  less  than  their  appearance,  closely  connects  the  Chinese  colors  with 
“enamels.”  Both  present  the  same  coloring,  obtained  from  the  same 
oxides  and  a composition  of  flux  very  similar,  sometimes  identical. 
Transparent  enamels  are  vitreous  compounds,  the  composition  of  which 
varies,  according  to  the  amount  of  fusibility  required,  and  which  are 
colored  by  a few  hundredths  of  oxides.  Blues  are  supplied  by  oxide 
of  cobalt,  greens  by  protoxide  of  copper,  reds  by  gold.  Opaque 
enamels,  yellow  or  white,  owe  their  color  and  opacity  either  to  anti- 
mony or  to  arsenic  or  stannic  acids,  together  or  alone.  It  had,  how- 
ever, been  found  impossible  to  utilize  these  enamel  substances  in  the 
decoration  of  European  porcelain,  owing  to  the  fact  that  they  scaled 
off;  and  when  the  Chinese  colors  (as  sent  by  MM.  Itier  and  Ly)  were 
experimented  upon  at  Sevres,  they  did  precisely  the  same  thing. 
When  placed  upon  Chinese  porcelain,  however,  they  developed  at  a 
temperature  below  that  used  at  the  Sevres  manufactory  for  retouching 
flowers,  and  did  not  scale.  The  explanation  is  no  doubt  to  be  found 
in  the  fact  that  the  paste  of  Chinese  porcelain  being  more  fusible  than 
the  European,  the  glaze  must  also  be  more  easily  fusible,  and  the  lime 
introduced  into  it  to  increase  the  fusibility  adapts  it  in  some  manner 
for  closer  union  with  the  compounds  forming  the  enamel. 

If,  then,  the  appearance  of  Chinese  porcelain  differs  from  that  of 
European  productions,  if  the  harmony  of  their  paintings  offers  greater 
variety,  it  is  the  necessary  result  of  the  process  employed  in  China. 
All  the  colors  used  contain  but  little  coloring  matter  and  have  no 
worth  unless  applied  in  a depth  which  gives  their  paintings  a relief 
impossible  to  obtain  by  other  means.  The  harmony  of  their  decora- 
tion results  from  the  nature  and  composition  of  their  enamels. 


Summary  of  collection. 

Porcelains : Specimens. 

Sung  dynasty  (A.  D.  960-1259) 1,2 

Yuan  dynasty  (A.  D.  1260-1349) 3 

Ming  dynasty,  Yunglo  (A.  D.  1403-1424) 4 

Hsuante  (A.  D.  1426-1435) 5-9 

Cldenghua  (A.  D.  1465-1487) 10, 11, 134 

Ch‘engte  (A.  D.  1506-1521) 12 

Wanli  (A.  D.  1573-1629)  13-25,171-175 

Ching  or  present  dynasty,  K‘anghsi  (A.  D.  1662-1722) 26-84 

Yungcheng  (A.  D.  1723-1735) 85-170 

Chienlung  (A.  D.  1736-1796) 176-288 

Chiach‘ing  (A.  D.  1796-1820) 337-344 

Taokuang  (A.  D.  1820-1850) 346-375 

Eggshell  porcelain: 

Ming  dynasty  (A.  D.  1403-1649) 289-303 

Ching  dynasty  (A.  D.  1664  to  date) 304-322 

Vitreous  (Ku  Yueh-hsiian)  ware  and  porcelain  reproductions  of  it 323,  336 

Snuff  bottles 345,  376-416 

Bronzes 417-434 

Lacquer  and  ivory - 435-438 


CERAMIC  ART  IN  CHINA. 


367 


CATALOGUE. 

1.  Small  dish  for  washing  pencils,  square,  with  upright  sides,  of  white  Sung  dynasty 

(A.  D.  960  to  1259)  porcelain,  coarsely  crackled.  Height,  | inch;  diameter, 
inches. 

2.  Low  vase  for  ivashing  pencils , square,  with  sides  bellying  outwards  from  mouth 

downwards,  having  two  four-footed  lizards  with  long,  curled  tails  moulded 
in  relief  cramped  on  rim,  and  heads  looking  into  trough,  of  white  Sung 
dynasty  porcelain  covered  with  stone-colored  glaze.  Height,  inches; 
diameter,  3 inches  and  3^  inches. 

3.  Plate  of  white  Chiinchow  porcelain  ( Chun-yao ) of  Yuan  dynasty  (A.  D.  1260  to 

1349),  covered  with  glaze  of  duck’s-egg  blue,  of  lighter  tint  at  edge  and 
brim,  from  which  glaze  has  run,  with  large  irregular  splotches  of  claret  red, 
shading  into  purple  at  edges,  where  it  mixes  with  blue  color  of  the  body. 
Diameter,  7f  inches. 

4.  Low  dish  of  white  porcelain  with  openwork  edge  formed  by  intersecting  circles; 

decoration  inside , six  medallions,  of  dragons’  fing  huang , and  formal  designs 
joined  by  conventional  foliage;  outside  a light  pattern  in  blue.  Mark  on 
foot,  Ta-ming-yung-lo-nien-chili,  “Made  during  the  Yunglo  period  (1403  to 
1424)  of  the  Ming  dynasty;”  style  of  decoration  and  of  writing  in  the  date- 
mark  shows  it,  however,  to  be  of  Japanese  manufacture.  Diameter,  9f 
inches. 

The  lung  or  dragon  is  the  chief  of  the  four  Chinese  supernatural  beasts, 
the  other  three  being  the  feng  huang  (usually  translated  phoenix) , 
the  cliSlin  (usually  translated  unicorn),  and  the  tortoise.  It  is  usu- 
ally represented  with  scowling  head,  straight  horns,  a scaly,  serpen- 
tine body  with  four  feet  armed  with  formidable  claws;  along  the 
length  of  the  body  runs  a line  of  bristling  dorsal  spines,  and  on  the 
hips  and  shoulders  are  flame-like  appendages.  The  claws  appear  to 
have  originally  numbered  three  on  each  foot,  but  the  number  has 
in  subsequent  ages  been  increased  to  five.  The  Shuo-wen,  a dic- 
tionary published  in  the  second  century  A.  D.,  states  that  of  the 
three  hundred  and  sixty  scaly  reptiles  the  dragon  is  the  chief.  It 
wields  the  power  of  transformation  and  the  gift  of  rendering  itself 
visible  or  invisible  at  pleasure.  In  spring  it  ascends  to  the  skies 
and  in  autumn  it  buries  itself  in  the  watery  depths.  The  watery 
principle  in  the  atmosphere  is  essentially  associated  with  the  lung, 
but  its  congener,  the  chiao-lung,  is  inseparably  connected  Avith  waters 
gathered  upon  the  surface  of  the  earth.  A denizen  of  such  waters 
is  also  the  variety  p‘an-lung,  which  does  not  mount  to  heaven. 
There  is  also  a species  of  hornless  dragon — the  chin-lung.  Kuan 
Tz’u  (seventh  century  B.  C. ) declares  that  “the  dragon  becomes  at 
will  reduced  to  the  size  of  a silkworm  or  swollen  till  it  fills  the 
space  of  heaven  and  earth.  It  desires  to  mount,  and  it  rises  till  it 
affronts  the  clouds;  to  sink,  and  it  descends  till  hidden  below  the 
fountains  of  the  deep.  ’ ’ The  early  cosmogonists  enlarged  upon  the 
imaginary  data  of  previous  writers,  and  averred  that  there  were  four 
distinct  kinds  of  dragons  proper— the  Vien-lung  or  celestial  dragon, 
which  guards  the  mansions  of  the  gods  and  supports  them  so  that 
they  do  not  fall;  the  shin-lung  or  spiritual  dragon,  Avhich  causes  the 
winds  to  blow  and  produces  rain  for  the  benefit  of  mankind;  the 
ti-lung  or  dragon  of  earth,  which  marks  out  the  courses  of  rivers 
and  streams;  and  the  fu-tslang-lung  or  dragon  of  hidden  treasures, 


sea 


REPORT  OF  NATIONAL  MUSEUM,  1900, 


which  watches  over  the  wealth  concealed  from  mortals.  Modern 
superstition  has  further  originated  the  idea  of  four  dragon  kings, 
each  bearing  rule  over  one  of  the  four  seas  which  form  the  borders 
of  the  habitable  earth.  The  liuang-lung  or  yellow  dragon  is  the 
most  honored  of  the  tribe;  and  this  it  was,  which,  rising  from  the 
waters  of  Lo,  presented  to  the  eyes  of  Fuhsi  the  elements  of  writing 
(see  No.  36).  The  dragon,  as  chief  among  the  beings  divinely  con- 
stituted, is  peculiarly  symbolical  of  all  that  pertains  to  the  Son  of 
Heaven — the  Emperor,  whose  throne  is  termed  lung-wei , the  dragon 
seat,  and  whose  face  is  described  as  lung-yen , the  dragon  counte- 
nance (see  Mayer’s  Chinese  Readers’  Manual  No.  451).,  At  his  death 
the  Emperoris  believed  to  be  borne  by  dragons  to  the  regions  of  the 
blessed.  The  dragon  thus  intimately  associated  with  the  Emperor 
is  always  depicted  with  five  talons  on  each  claw,  and  it  is  he  alone, 
properly  speaking,  who  can  use  such  a device  upon  his  property; 
the  dragon  borne  by  the  princes  of  the  blood  has  but  four  talons  on 
each  claw.  The  distinction,  however,  is  not  at  present  rigidly 
maintained,  and  the  five-clawed  dragon  is  met  with  embroidered 
on  officers’  uniforms. 

“In  Chinese  Buddhism,”  says  Dr.  Anderson,  in  his  Catalogue  of  Japan- 
ese and  Chinese  Paintings  in  the  British  Museum,  “the  dragon  plays 
an  important  part,  either  as  a force  auxiliary  to  the  law,  or  as  a 
malevolent  creature  to  be  converted  or  quelled.  Its  usual  charac- 
ter, however,  is  that  of  a guardian  of  the  faith  under  the  direction 
of  Buddhas,  Bodhisattvas,  or  Arhats.  As  a dragon  king  it  officiates 
at  the  baptism  of  S’akyamuni,  or  bewails  his  entrance  into  Nirvana; 
as  an  attribute  of  saintly  or  divine  personages  it  appears  at  the  fe<  t 
of  the  Arhat  Panthaka,  emerging  from  the  sea  to  salute  the  goddess 
Kuanyin,  or  as  an  attendant  upon  or  alternative  form  of  Sarasvati, 
the  Japanese  Benten;  as  an  enemy  to  mankind  it  meets  its  Pert  eus 
and  St.  George  in  the  Chinese  monarch  KaoTsu  (of  the  Han  dynasty) 
and  the  Shinto  God,  Susand  no  Mikoto.  * * * As  to  the  origin 
of  the  relation  of  the  cobra  to  Indian  Buddhism,  there  appears  to  be 
little  doubt  that  the  Cobra  kings  represented  a once  hostile  Scythic 
race  of  serpent-worshipers  which  first  invaded  India  in  the  sevei  th 
century  B.  C.,  and  that  a subsequent  alliance  with  portions  of  the 
foreign  tribes  gave  rise  to  the  stories  of  converted  Nagas  and  o 
Nagas  who  defended  the  faith.  When  the  religion  made  its  way  into 
China,  where  the  hooded  snake  was  unknown,  the  emblems  she  wn 
in  the  Indian  pictures  and  graven  images  lost  their  force  of  sugges- 
tion, and  hence  became  replaced  by  a mythical  but  inore  familiar 
emblem  of  power.  The  multiplication  of  the  cobra  head  seen  in  the 
Amravati  topes  becomes  lost  in  Chinese  Buddhism,  but  perhaps  may 
be  traced  in  the  seven-headed  dragons  and  serpents  of  Japanese 
legend.  The  high  position  occupied  by  the  dragon  in  Chinese  imagi- 
nation may  perhaps  be  a relic  of  ancient  serpent  worship  in  that 
country.  Illustrations  of  the  identity  of  the  dragon  and  serpent  in 
Japanese  art  and  the  portrayal  of  creatures  in  transitional  forms 
between  the  two  are  suggestive  of  such  an  origin.” 

Feng , the  name  of  the  male,  and  huang,  of  the  female,  of  a fabulous  bird 
of  wondrous  form  and  mystic  nature,  the  second  among  the  four 
supernatural  creatures.  The  compound  of  the  two ,feng-huang,  is  the 
generic  designation  usually  employed  for  the  bird,  and  is  frequently 


CERAMIC  ART  IN  CHINA; 


369 


translated  “phoenix.”  One  writer  describes  it  as  having  the  head 
of  a pheasant,  the  beak  of  a swallow,  the  neck  of  a tortoise,  and  the 
outward  semblance  of  a dragon,  to  which  another  version  adds  the 
tail  of  a fish,  but  in  pictorial  representations  it  is  usually  delineated, 
as  here,  as  a compound  of  a peacock  and  a pheasant,  with  the  addi- 
tion of  many  gorgeous  colors.  Very  early  legends  narrated  that  this 
bird  made  its  appearance  as  a presage  of  the  advent  of  virtuous 
rulers,  whose  presence  it  also  graced  as  an  emblem  of  their  auspi- 
cious government.  It  sat  in  the  court  of  Huang  Ti,  who  is  credited 
with  having  entered  upon  a reign  of  one  hundred  years  in  B.  C.  2697, 
while  that  sovereign  observed  the  ceremonial  fasts;  and,  according 
to  the  Classic  of  History,  it  came  with  measured  gambolingsto  add 
splendor  to  the  musical  performances  conducted  by  the  great  Shun 
(B.  C.  2255  to  2206).  The  five  colors  of  its  plumage  are  supposed 
to  be  typical  of  the  five  cardinal  virtues.  As  the  lung  or  dragon  has 
become  the  emblem  of  the  Emperor,  so  the  f&ng-huang  has  become 
that  of  the  Empress. 

5-8.  Tea-cups  (4),  with  everted  rim,  of  pure  white,  thin  Hsiiante  (1426  to  1435)  porce- 
lain, with  very  delicate  flower  pattern,  frocn  which  the  paste  has  been  excised 
and  replaced  by  thin  film  of  glaze  to  render  it  capable  of  holding  liquid.. 
Beautiful  specimens  of  this  style  of  decoration  generally  known  in  English 
as  “lace-work” — the  pieces  reticulees  of  the  French.  Mark  on  foot  Ta-ming- 
hsuan-te-nien-chih,  “Made  during  the  Hsiiante  period  of  the  Ming  dynasty.” 

9.  Small  fish-bowl  of  Hsiiante  white  porcelain,  with  ornamentation  of  mang  or 

unhomed  dragons  with  pointed  head  among  very  conventional  clouds,  and 
geometrical  pattern  above  running  round  brim,  all  incised  in  paste  below  a 
pale  green  or  celadon  glaze.  Mark  on  foot  Ta-ming-hsuan-te-yiien-cliih , ‘ ‘ Made 
during  the  Hsiiante  period  of  the  Ming  dynasty.”  Height,  6|-  inches;  diam- 
eter, 8 inches. 

The  mang  would  appear  to  be  properly  a huge  serpent  or  boa  constrictor^ 
In  paintings,  however,  and  in  sculpture  it  is  usually  represented  as 
a lizard  having  a scowling  head,  with  a beard  at  times  depending 
from  the  chin,  and  four  feet  bearing  elawTs.  but  without  talons.  On 
the  mang-p1  ao,  i.  e.,  mang  robe,  the  court  dress,  no  mang , properly 
speaking,  appears,  its  place  being  taken  by  a four  clawed  or  taloned 
dragon. 

10.  Tall  vase,  in  shape  of  bag,  with  long  neck  bound  around  with  a ribbon  tied  in 

bow,  of  Ch’enghua  (1465  to  1487)  white  porcelain  covered  with  a yellow- 
black  glaze.  Height,  13!  inches;  diameter,  7-f  inches. 

11  Sle’nder  vase  of  pure  white  Ch’enghua  porcelain;  decoration,  immortals  or  genh 
engaged  in  literary  contests  and  attended  by  servants  in  rocky  valley,  with 
bamboo  thickets  painted  in. bright  blue  under  glaze.  Mark  Ta-ming-cU eng~ 
hua-nien-chih,  “Made  during  the  Ch’enghua  period  of  the  Ming  dynasty.” 
Height,  10|  inches. 

134.  Pencil-holder,  circular  in  shape  and  very  broad,  of  white  Ch’enghua  porcelain; 
decoration,  which  is  in  beautiful  shade  of  blue  under  transparent  glaze — a 
long  poem  from  the  pen  of  the  celebrated  poet  Li  Tai-po,  of  the  Sung 
dynasty,  inculcating  the  epicurean  philosophy,  which  may  be  summed  up  in 
Horace’s  words,  Carpe  diem,  guam  minime  credida  postero . The  advice  con- 
tained in  the  poem  is  being  put  into  practice  by  a merry  party  round  the 
festive  board,  whose  actions  seem  to  express  the  words  of  the  Latin  author, 
Fruamur  bonis  quic  sunt;  pretioso  vino  et  ungueniis  nos  impleamus,  non'prxtereat 
nosjlos  temper  is:  No  mark.  Height,  6 inches;  diameter,  6£  inches. 


370 


REPORT  OF  NATIONAL  MUSEUM,  1900. 


12.  Small  bowl  to  hold  flowers  or  water  for  use  on  ink  slab,  of  white  Ch’engte  (1506 

to  1521)  porcelain,  covered  outside  with  milky  blue  glaze,  inside  plain, 
coarsely  crackled  inside  and  out.  Mark  Ta-yning-ching-te-nien-chih,  “Made 
during  the  Ch’engt6  period  of  the  Great  Ming  dynasty.”  Height,  2f  inches; 
diameter,  4|  inches. 

13.  Jar , of  potiche  shape,  of  Wanli  (1573  to  1619)  white  porcelain;  decoration,  flying 

fmghuang  and  dragons  (see  No.  4),  with  flowers  between,  and  above  a border 
of  formal  pattern,  resembling  inverted  spearheads;  cover  has  small  pattern 
running  round  it  with  dragon  on  top;  ornamentation  throughout  is  engraved 
in  paste  and  of  bright  yellow  upon  a vivid  green  ground.  Mark  Ta-ming- 
wan4i-nien-chih,  “Made  during  the  Wanli  period  of  the  Great  Ming  dynasty.” 
Height,  6|  inches;  diameter,  6^  inches. 

14.  15.  Bowls  (2),  with  scalloped  brim,  of  white  porcelain  decorated  with  red  and 

gold  plum-blossonis,  alternating  with  gourd-shaped  vases  having  a decora- 
tion in  gold  on  a blue  ground  or  formal  flowers,  resembling  pinks  and  chrys- 
anthemums in  white,  red,  and  gold,  or  all  gold,  upon  a salmon-colored 
ground,  with  long  twisted  ribbons  attached,  the  decoration  passing  from 
outside  over  the  brim  to  inside,  where  at  bottom,  confined  by  a double  circle, 
is  a blue  dragon  in  white,  green,  and  red  clouds.  Round  foot  on  outside  is 
small  pattern.  Marked  as  last,  but  decoration  and  caligraphy  of  date  mark 
show  the  ware  to  be  of  Japanese  manufacture.  Height,  3}  inches;  diameter, 
7f  inches.  . 

16, 17.  Jars  (2),  circular  in  shape,  the  walls  rising  perpendicularly,  of  Ming  dynasty 
porcelain,  decorated  with  iris  and  leaves,  boldly  outlined  in  relief  and  cov- 
ered with  thick  glazes  of  different  colors,  the  flowers  being  yellow  and  the 
leaves  peacock-green  upon  a deep  aubergine  ground;  brim  green,  with  a 
formal  panel  pattern  outlined  in  relief  round  neck  and  colored  alternately 
with  same  deep  glaze  (yellow  and  peacock-green),  inside  thin  peacock-green 
glaze.  Good  specimen  of  this  highly-prized  ware.  No  mark.  Height, 
inches;  diameter,  6|  inches. 

18.  Jar  of  white  porcelain  of  Ming  dynasty,  of  either  Hsiiante  (1426  to  1435)  or 
Ch’enghua  (1465  to  1487)  period.  Decoration,  Pei-tow  (the  Northern  Pole 
star)  and  Nan-tow  (the  Southern  Pole  star)  playing  chess  on  mountain 
road,  with  boy  bearing  a bundle  of  dry  branchlets,  and  an  inscription  in  seal 
chara'cter,  “Among  the  hills  a thousand  years  seem  but  as  seven  days.” 
Landscape  and  figures  in  beautiful  deep  blue  under  glaze  and  in  pale  and  dark 
green  enamel  colors.  Above,  a formal  pattern  encircles  the  jar  below  the 
neck,  round  which  are  small  sprays  of  flowers  in  brick-red  with  leaves  alter- 
nately green  and  blue. 

This  represents  the  well-known  legend  of  WangChih,  who,  having  wan- 
dered in  the  mountains  of  Ch’uchow  to  gather  fire-wood,  came  upon 
two  aged  men,  the  Southern  Pole  star,  the  genius  of  longevity,  and 
the  Northern  Pole  star,  the  genius  of  death,  intent  upon  a game  of 
chess.  He  laid  down  his  ax  and  watched  their  game,  in  the  course 
of  which  the  former  handed  him  something  resembling  a date-stone, 
which  he  was  told  to  place  in  his  mouth.  No  sooner  had  he  tasted 
it  than  he  became  oblivious  of  hunger  and  thirst.  After  some  time 
the  donor  turned  to  him  and  said,  “It  is  long  since  you  came  here; 
you  should  go  home  now.”  Whereupon  Wang  Chih,  proceeding  to 
pick  up  his  ax.  found  that  the  handle  had  moldered  into  dust.  On 
reaching  his  home  he  found  that  centuries  had  elapsed  since  the 
time  when  he  left  it  for  the  mountains,  and  that  no  vestige  of  his 
kinsfolk  remained.  Retiring  to  a retreat  among  the  hills  he  devoted 


CERAMIC  ART  IN  CHINA. 


371 


himself  to  the  rites  of  Taoism,  and  finally  attained  to  immortality.1 
Wang  Chih  is  stated  to  have  lived  under  the  Chin  dynasty  in  the 
third  century  B.  C.  The  appearance  of  this  South  Pole  star  is  sup- 
posed to  announce  peace  throughout  the  world. 

19,  20.  Jars  (2)  with  covers,  of  the  small  potiche  shape,  of  pure  white  porcelain,  with 
paintings  in  deep,  dull  blue  under  glaze,  of  children  playing  in  garden  and 
plucking  flowers  from  the  trees;  cover  ornamented  with  children,  similarly 
painted,  in  grotesque  attitudes  playing.  A reproduction  of  a popular  Chinese 
painting,  the  Po-tzu-t’u,  “Drawing  of  (lit.  a hundred)  Children.”  Mark  on 
foot,  a leaf,  which  makes  these  specimens  date  from  the  K’anghsi  period 
(1662  to  1722),  though  the  color  is  rather  that  of  the  Ming  dynasty.  Height, 

10  inches. 

21.  Wine-pot  of  creamy  white  Ming  dynasty  Chienning porcelain  (Chien-yao) , termed 
by  the  French  blanc  de  Chine.  Tall,  circular  in  shape,  tied  at  center  with 
ribbon.  Spout  formed  by  lizard  with  four  legs  and  branching  tail,  which 
clings  to  rim  and  turns  head  outward,  the  wine  issuing  from  its  mouth.  The 
handle  is  formed  by  a similar  animal  twisting  head  downward  from  rim 
to  center  of  vessel.  Has  closely-fitting  cover,  surmounted  by  a knob  formed 
of  a diminutive  lizard  curled  into  the  form  of  a ball.  No  mark  on  foot. 
Height,  9J  inches;  diameter,  3|  inches. 

22-24.  Seeds --(3)  of  creamy  white  Ming  dynasty  Chienning  porcelain  (blanc  de  Chine), 
one  large  and  two  smaller,  cubes  in  shape,  each  surmounted  by  a lion  as 
handle  boldly  molded  in  relief,  with  long,  straight  mane  and  tail,  and  curly 
hair  down  back.  Nos.  22  and  24  represent  a lioness  with  one  cub.  No  mark. 
Height,  Nos.  22  and  23,  2f  inches;  No.  24,  3 inches;  diameter,  Nos.  22  and 
23,  If  inches;  No.  24,  If  inches. 

25.  Pencil-holder,  tall,  circular  in  shape,  of  pure-white  Ming  dynasty  porcelain, 
formed  of  sprays  of  lotus  flowers  and  leaves  admirably  molded  in  relief 
and  covered  with  lustrous,  transparent  glaze,  the  spaces  between  the  flowers 
and  leaves  being  excised  to  form  open-work.  No  mark;  bottom  unglazed. 
Height,  3f  inches;  diameter,  inches. 

171.  Pencil-VMsher  of  white  Ming  porcelain,  of  globular  form,  with  low,  open  neck, 
and  a handle  on  either  side  formed  of  a grotesque  lion’s  head  molded  in 
relief.  Decoration  consists  of  six  genii  riding  on  a sword,  a carp,  a tiger, 
a hat,  a bunch  of  sticks,  and  a dragon,  painted  in  a deep  blue  through 
brick-red  waves  under  glaze.  Round  neck  and  foot  a narrow  band  of  white 
studded  with  blue  spots.  Mark  Ts’ai-hua-fang,  the  designation  of  a portion  of 
some  princely  palace  not  yet  identified.  Height,  2|  inches;  diameter,  3J  inches. 

The  sage  riding  the  wayes  upon  the  sword  is  Lii  Fung-pin,  stated  to  (\ 
have  been  born  A.  D.  755.  While  holding~~oifice  ’as"  magistrate  of  v ’ 
Te-hua,  in  modern  Kiangsi,  he  is  said  to  have  met  the  immortalized 
Chung-li  Ch’  flan,  who  instructed  him  in  the  mysteries  of  alchemy. 

On  his  subsequently  begging  to  be  allowed  to  convert  his  fellow- 
countrymen  to  the  true  belief,  he  was,  as  a preliminary,  exposed 
to  ten  temptations,  which  he  successfully  resisted.  He  was  then 
invested  with  the  formulas  of  magic  and  a sword  of  supernatural 
power,  as  the  Taoist  legends  relate,  with  which  he  traversed  the 
Empire  during  a period  of  four  hundred  years,  killing  dragons  and 
ridding  it  of  divers  kinds  of  evils.  In  the  twelfth  century  temples- 
were  erected  to  his  honor  under  the  title  of  Ch‘un  Yang.  (Mayers, 

No.  467.) 


1 Mayers,  Chinese  Reader’s  Manual,  No.  794. 


372 


REPORT  OF  NATIONAL  MUSEUM,  1900. 


/ C/V'vv  ^ 


172-1 75. 


He  of  the  carp  is  Kin-Kao,  “a  sage  who  lived  in  northern  China  about 
the  twelfth  cernury.  It  it  said  that  he  wandered  over  the  province  of 
Chihli  for  two  centuries,  and  then,  taking  leave  of  his  disciples 
with  a promise  to  return  by  a certain  day,  he  plunged  into  the  river. 
When  the  appointed  time  for  his  reappearance  arrived,  the  pupils, 
with  a great  multitude,  assembled  upon  the  banks,  and,  having 
duly  bathed  and  purified  themselves,  made  offerings  to  him.  At 
length,  in  the  sight  of  ten  thousand  persons,  he  sprang  from  the  water 
riding  upon  a carp.  After  tarrying  with  his  friends  for  a month  he 
again  entered  the  river  and  was  seen  no  more.”  1 

The  sage  on  the  tiger  is  perhaps  Chii  Ling-jen,  a rishi  of  marvelous 
powers. 

He  on  the  bundle  of  sticks  is  perhaps  Damma,  son  of  a king  in  southern 
India,  “who,”  says  Mr.  Anderson  in  his  catalogue,  p.  511,  “was  the 
first  Chinese  patriarch.  Healfived  in  China  A.  D.  520, and  established 
himself  in  a temple  in  Loyang.  During  nine  years  of  his  stay  there 
he  remained  buried  in  profound  abstraction,  neither  moving  nor 
speaking,  and  when  he  returned  to  consciousness  of  his  surroundings 
his  legs  had  become  paralyzed  by  long  disuse.  In  the  Butsu-zo-dzu-i 
it  is  said  he  came  to  Japan  A.  D.  613,  and  died  on  Mount  Kataoaka. 
The  Chinese,  however,  maintain  he  died  and  was  buried  in  China, 
but  that  three  years  after  his  death  he  was  met  traveling  toward 
India,  with  one  foot  bare,  and  when  his  tomb  was  opened  by  the 
Emperor’s  order  it  was  found  empty  save  for  a cast-off  shoe.” 

The  dragon  genius  isCIVen  Nan,  a sage  possessed  of  supernatural  powers 
to  cure  the  sick,  transmute  metals,  travel  enormous  distances,  etc. 
Passing  through  a place  where  the  inhabitants  were  praying  for  rain 
he  stirred  a pool  where  he  knew  a dragon  lived,  with  a long  iron 
pole.  So  plenteous  a downpour  at  once  ensued  that  all  the  rivers 
were  filled. 

Plates  (4  small)  of  white  Ming  dynasty  porcelain,  decorated  inside,  the 
genius  of  longevity  accompanied  by  the  spotted  stag,  amid  waves  and  clouds 
in  deep  blue  upon  brick-red  waves.  On  the  outside  are  the  eight  immortals 
venerated  by  the  Taoist  sect,  in  blue  on  vermilion  waves.  Mark  as  on 
last.  The  decoration  shows  them  to  have  been  intended  to  hold  sweetmeats 
during  birthday  ceremonies. 

The  eight  immortals  venerated  by  the  Taoists  are  Chung-liCh‘uan,  Chang 
Kuo,  Lii  Tung-pin,  Ts‘ao  Kuo-ch‘iu,  LiTieh-kuai,  Plan  Hsiang-tz‘u, 
Lan  Ts*‘ai-ho,  and  Ho  Hsien-ku.  Though  some,  if  not  all,  of  these 
personages  had  been  previously  venerated  as  immortals  in  Taoist 
legends,  it  would  appear  from  the  Kle-yu-ts‘uncj-kla.O'  (chap.  34)  that 
their  defined  assemblage  into  a group  of  immortalized  beings  can 
not  claim  a higher  antiquity  than  the  Y nan  dynasty — that  is,  the 
end  of  the  thirteenth  or  beginning  of  the  fourteenth  century. 

Chung-li  Ch‘uan  is  reputed  to  have  lived  under  the  Chow  dynasty  (B.  C. 
1122  to  256).  Many  marvelous  particulars  are  narrated  respecting 
his  birth  and  career,  in  the  course  of  which  he  met  Tung  Hua  Kung, 
the  patriarch  of  the  Genii,  “who  revealed  to  him  the  mystic  formula 
of  longevity  and  the  secret  of  the  power  of  transmutation,  and  of 
magic  craft.”  He  was  eventually  permitted  to  join  the  Genii,  and 
has  appeared  from  time  to  time  as  the  messenger  of  Heaven.  He  is 
usually  represented  as  a martial  figure  with  a sword. 


Anderson,  Japanese  and  Chinese  Paintings  in  British  Museum,  p.  236. 


CERAMIC  ART  IN  CHINA. 


Chang  Kuo  is  said  to  have  flourished  toward  the  close  of  the  seventh  and 
middle  of  the  eighth  century.  Leading  an  erratic  life,  he  performed 
wonderful  feats  of  necromancy.  His  constant  companion  was  a white 
mule  which  could  carry  him  thousands  of  miles  in  a single  day,  and  - 
which,  when  he  halted,  he  folded  up  and  hid  away  in  *his  wallet. 
When  he  again  required  its  services,  he  spurted  water  upon  the  packet 
from  his  mouth  and  the  animal  at  once  resumed  its  proper  shape. 
According  to  Taoist  legend,  the  Emperor  Hsiian  Tsung,  of  theT‘ang 
dynasty,  repeatedly  urged  him  to  visit  his  court  and  assume  a 
priestly  office  there,  but  the  ascetic  wanderer  rejected  every  offer. 
He  is  reputed  to  have  entered  immortality  about  740  A.  D.  without 
suffering  bodily  dissolution.  He  is  usually  represented  conjuring 
his  mule  from  a wallet 'or  gourd,  or  holding  an  instrument  of  music. 

Lii  Tung-pin  said  to  have  been  born  A.  D.  755.  While  holding  office 
at  Te-hua,  in  modern  Kiangsi  province,  he  is  reputed  to  have  met 
Chung-li  Chilian  (see  ante)  among  the  Lu  Mountains,  and  was 
instructed  by  him  in  the  mysteries  of  alchemy  and  the  magic  formula 
of  the  elixir  of  life.  Having  expressed  a desire  to  convert  his  fel- 
low-men to  the  true  belief,  a series  of  temptations,  ten  in  number, 
\Vas  imposed  upon  him  as  a prelimiiiary.  These  he  successfully 
overcame,  and  was  thereupon  invested  with  the  formulas  of  magic 
and  a sword  of  supernatural  power,  with  which  he  traversed  the 
Empire  during  a period  of  four  hundred  years,  slaying  dragons  and 
ridding  it  of  various  kinds  of  evils.  In  the  twelfth  century  temples 
were  erected  to  him  under  the  title  of  Ch‘un  Yang.  Like  Chung-li 
Ch‘uan,  he  is  usually  depicted  as  of  martial  bearing,  armed  with  a 
sword. 

Of  Ts‘ao  Kuo-chfin  little  is  known.  He  is  reputed  fo  have  been  the  son 
of  Ts‘ao-pin,  the  great  military  commander,  who  largely  contributed 
to  the  establishment  of  the  Sung  dynasty  upon  the  throne  of  China, 
and  the  brother  of  the  Empress  Ts‘ao  of  the  same  dynasty.  He* 
would  thus  have  lived  in  the  eleventh  century.  He  is  usually 
represented  as  a military  officer,  holding  a pair  of  castanets. 

Li  Tfieh-kuai,  or  Theh-Kuai-Hsien-Sheng,  i.  e.,  “Li. of  the  Iron  Staff,” 
or  “the  gentleman  of  the  Iron  Staff.”  His  birth  is  assigned  to  no 
precise  era;  his  name,  however,  is  stated  to  have  been  Li,  and  he  is 
described  as  of  commanding  stature  and  of  dignified  mien.  He  was 
entirely  devoted  to  the  study  of  Taoist  lore,  his  instructor  having 
been  the  philosopher  Lao  Tz‘u  himself,  who  for  that  purpose 
descended  at  times  from  Heaven  and  at  others  summoned  his  pupil 
to  his  celestial  abode.  ‘ ‘ On  one  occasion,  when  about  to  mount  on 
high,”  says  the  legend  as  given  by  Mayers  (No.  718),  “at  his  pa- 
tron’s bidding  the  pupil,  before  departing  in  spirit  to  voyage  through 
the  air,  left  a disciple  of  his  own  to  watch  over  his  material  soul 
(p‘o),  with  the  command  that  if,  after  seven  days  had  expired,  his 
spirit  (huri)  did  not  return,  the  material  essence  might  be  dismissed 
into  space.  Unfortunately  at  the  expiration  of  six  days  the  watcher 
was  called  away  to  the  deathbed  of  his  mother,  and,  his  trust  being 
neglected,  when  the  disembodied  spirit  returned  on  the  evening  of 
the  seventh  day  it  found  its  earthly  habitation  no  longer  vitalized. 
It  therefore  entered  the  first  available  refuge,  which  was  the  body 
of  a lame  and  crooked  beggar  ^whose  spirit  had  at  that  moment  been 
exhaled,  and  in  this  shape  the  philosopher  continued  his  existence, 
supporting  his  halting  footsteps  with  an  iron  staff.”  Li  Tfleh-kuai 


374  REPORT  OF  NATIONAL  MUSEUM,  1000. 

is,  in  consequence,  usually  depicted  as  a lame  and  ragged  beggar 
exhaling  his  spiritual  essence  in  the  form  of  a shadowy  miniature 
of  his  corporeal  form,  or  conjuring  five  bats*.  symbolical  of  the  five 
kinds  of  happiness  (see  No.  27)  from  a gourd. 

Han  Hsiang-tz‘u  is  reputed  to  have  been  the  grandson  of  the  famous 
statesman,  philosopher,  and  poet  of  the  T‘ang  dynasty,  and  to  have 
lived  in  the  latter  half  of  the  ninth  century.  He  was  an  ardent 
votary  of  transcendental  study,  and  the  pupil  of  Lii  Tung-pin  (see 
ante),  himself  one  of  the  immortals,  who  appeared  to  him  in  the 
flesh.  Having  been  carried  up  into  the  peach  tree  of  the  Genii  (see 
Nos.  27  and  28),  he  fell  from  its  branches,  and  in  falling  entered 
into  immortality.  He  is  usually  depicted  playing  upon  a flute  or 
sitting  upon  a portion  of  the  trunk  of  a peach  tree. 

Lan  Ts‘ai-ho  is  of  uncertain  sex,  but  usually  reputed  a female.  The 
tlai-p ‘ing-kuang-chi  states  that  she  wandered  abroad  clad  in  a tattered 
blue  gown,  with  one  foot  shoeless  and  the  other  shod,  in  summer 
wearing  a wadded  garment  next  the  skin  and  in  winter  sleeping 
amid  snow  and  ice.  ‘ ‘ In  this  guise,  ’ ’ says  Mayers,  ‘ ‘ the  weird  being 
begged  a livelihood  in  the  streets,  waving  a wand  aloft  and  chant- 
ing a doggerel  verse  denunciatory  of  fleeting  life  and  its  delusive 
pleasures.”  Lan  Ts‘ai-ho  is  usually  drawn  as  an  aged  man  or  as  a 
female  clad  in  leaves  or  rags,  carrying  a basket  (?)  to  hold  the  alms 
given. 

Ho  Hsien-Ku  was  the  daughter  of  one  Ho  T‘ai,  a native  of  Tseng-ch‘eng, 
near  Canton,  and  was  born  in  the  latter  half  of  the  seventh  century. 
Born  with  six  hairs  growing  on  the  top  of  her  head,  she -at  fourteen 
years  of  age  dreamed  that  a spirit  visited  her  and  instructed  her  in 
the  art  of  obtaining  immortality  by  eating  powdered  mother-of-pearl. 
She  complied  with  this  injunction  and  vowed  herself  to  a life  of  vir- 
ginity. Her  days  were,  henceforth  passed  in  solitary  wanderings 
among  the  hills,  among  which  she  moved  as  on  wings,  to  gather 
herbs,  and  eventually  renounced  all  mortal  food.  Her  fame  having 
reached  the  ears  of  the  Empress  Mu,  a concubine  endowed  with  a 
masterful  intellect,  who  succeeded  in  usurping  the  sovereign  power, 
and  who,  but  for  a revolution,  would  have  deposed  the  dynasty  of 
T‘ang,  she  was  summoned  to  court,  but  vanished  from  mortal  sight 
on  her  way  thither.  She  is  said  to  have  been  seen  once  more,  in 
A.  D.  750,  floating  upon  a cloud  at  the  temple  of  the  Taoist  immortal 
Ma-Ku,  and  again  some  years  later  near  Canton.  She  is  sometimes 
represented  clothed  in  a mantle  of  mugwort  leaves  and  holding  a 
lotus  flower. 

26.  Bowl  of  white  K’anghsi  (1662  to  1722)  porcelain,  with  scalloped  edges  dividing 
the  vessel  into  eight  flattened  sections,  each  filled  with  a scene  admirably 
painted,  chiefly  in  blue,  but  with  small  details  in  enamel  green,  on  a ground 
inside  and  out  of  deep  yellow  under  thick  transparent  glaze.  These  paint- 
ings are  copies  from  celebrated  pictures,  drawn  by  a famous  artist  named 
Fei  of  the  Yuan  dynasty,  i.  e .,  latter  half  of  the  twelfth  or  early  in  thirteenth 
century,  illustrative  of  the  pleasures  of  the  Hsi-yuan  or  Western  Park.  At 
bottom  inside,  a man  holding  a jar,  also  in  blue.  An  admirable  specimen  of 
a highly  prized  ware.  Mark  Ta-ch?  ing-k’ ang-hsi-nien-chih,  “ Made  during  the 
K’anghsi  period  of  theGreat  Pure  orCh’ing  (the  present)  dynasty.”  Height, 
3|  inches;  diameter,  7f  inches. 

Of  this  ware  the  Ambassade  de  la  Compagnie  Orientale  des  Provinces 
Unis  vers  l’Empereur  de  la  Chine  ou  Grand  Can  de  Tartarie  fait  par 


CERAMIC  ART  IN  CHINA. 


375 


les  Sieurs  Pierre  de  Goyer  et  Jacob  de  Keyser  (Leyden,  1665),  and 
the  Travels  from  Muscovy  to  China,  by  E.  Ysbrant  Ides,  Ambassa- 
dor from  Peter  the  Great  to  the  Emperor  of  China  in  1692  (pub- 
lished in  Harris’s  Collection  of  Voyages) , say:  “The  finest,  richest, 
and  most  valuable  china  is  not  exported,  at  least  very  rarely,  par- 
ticularly a yellow  ware,  which  is  destined  for  the  imperial  use,  and 
is  prohibited  to  all  other  persons.” 

The  Hsi-Yuan  was  a park  laid  out  by  Yang  Ti  (A.  D.  605  to  616),  of  the 
Sui  dynasty.  It  was  over  60  miles  in  circuit,  and  “exhausted  the 
utmost  degrees  of  splendor  and  beauty.  When  the  foliage  became 
decayed  and  fell,  it  was  replaced  upon  the  trees  by  leaves  of  silk. 
Here  the  imperial  debaucM  was  accustomed  to  ride  on  moonlit 
nights,  accompanied  by  a cavalcade  of  thousands  of  the  inmates  of 
his  seraglio.”  (Mayers.) 

27.  Bowl  of  pure  white  K’anghsi  porcelain,  wide  spreading,  decorated  on  outside  with 
mythological  subjects  admirably  painted  in  great  detail  and  with  great  deli- 
cacy of  brush  in  the  characteristic  tones  of  the  latter  half  of  this  reign, 
vermilion-red  and  enamel  colors.  Inside  a branch  of  the  peach  tree,  bearing 
one  fruit  and  several  leaves,  in  green,  shaded  and  varied  with  darker  tints  of 
the  same  color,  with  the  exception  of  two,  which  show  a great  variety  of 
shades  of  decay,  the  veins  alone  remaining  in  parts;  on  the  peach,  which,  as 
here,  is  usually  pointed  in  China,  is  the  character  Shou  (longevity)  in  the 
“seal”  style  in  gold.  An  almost  unique  specimen  of  the  highest  style  of 
decoration  during  the  period  when  the  manufacture  of  porcelain  had  reached 
its  highest  point.  (See  Plate  1.) 

This  bowl  from  its  decoration  was  undoubtedly  intended  for  use  in  the 
palace  on  the  occasion  of  an  imperial  birthday.  The  peach  is  one 
of  the  emblems  of  longevity,  from  a legend  which  traced  them  to  the 
gardens  of  the  fairy  Hsi  Wang-Mu,  where  they  ripened  but  once  in 
three  thousand  years,  and  conferred  that  term  of  life  upon  those  who 
were  fortunate  enough  to  taste  them.  The  legend  runs  thus:  “In 

the  first  year  of  the  period  Yuan  feng  in  the  Hau  dynasty  (B.  C.  110) 
the  fairy  Hsi  Wang  had  descended  from  her  mountain  realm  to  visit 
the  Emperor  Wu  Ti,  bringing  with  her  seven  peaches.  She  ate  two 
of  the  number,  and  upon  the  Emperor  expressing  a wish  to  preserve 
the  seed,  she  told  him  that  the  tree  from  which  they  came  bore  once 
only  in  three  thousand  years,  but  each  fruit  conferred  three  centuries 
of  life  upon  the  eater.  At  that  moment  she  perceived  Tung-Fang- 
so  peeping  at  her  through  the  window,  and,  pointing  to  him,  said: 
‘ That  child  whom  you  see  yonder  has  stolen  three  of  my  peaches 
and  is  now  nine  thousand  years  old.’  ” 1 The  gum  of  the  peach  tree 
mixed  with  mulberry  ash  is  used  as  an  elixir  vitse  by  the  Taoists.2 

The  decoration  on  the  outside  is  an  adaptation  of  the  allegorical  repre- 
sentation of  the  prayer  for  “happiness,  distinction,  and  longevity” 

( fu-lao-shou  ),  met  with  in  Chinese  paintings  under  many  forms,  but 
always  with  the  same  general  characteristics.  One  of  the  immortals, 
the  great  sage  Lao  Tz’u,  accompanied  by  attendants,  the  crane 
( Grus  viridirostri  s V eil  lot  )~‘  the  stag,  the  hairy  tortoise,  all  emblems 
of  long  life;  another,  Li  T’ich-kuai,  with  attendants,  evolving  from  a 
gourd  contracted  at  the  center,  five  bats,  emblematic  of  the  five  bless- 
ings— longevity,  riches,  peacefulness  and  serenity,  the  love  of  virtue, 
and  an  end  crowning  the  life — the  Chinese  characters  for  bat  and 
happiness  having  the  same  pronunciation. 


1 Mayers,  Chinese  Reader’s  Manual,  No.  572. 


2 Idem,  No.  707. 


37  6 


REPORT  OF  NATIONAL  MUSEUM,  1900. 


28-31.  Plates  (4)  of  white,  porcelain.  Hsi  Wang  Mu,  depicted  as  a beautiful  female 
in  the  ancient  Chinese  dress,  is  represented  accompanied  by  one  of  her 
attendant  maidens  holding  a tray  containing  peaches  and  other  articles,  and 
by  the  spotted  stag/symbolical  of  longevity,  very  delicately  painted  in  enamel 
colors.  The  rim  is  ornamented  with  a narrow  band  in  vermilion  red  of 
detached  flowers  of  the  Chinese  peony  ( Pseonia  moutan)  and  of  butterflies. 
Mark  Ta-Mmg-eh’eng-hua-nien-chAh,  “Made  during  the  Ch’enghua  period 
(1465  to  1487)  of  the  great  Ming  or  Bright  (dynasty);”  the  colors  and  style 
of  painting,  however,  point  rather  to  the  K’anghsi  period  as  that  of  their 
manufacture.  Diameter,  6f  inches. 


ti/  ^ 


32, 


Hsi  Wang  Mu,  literally  Royal  Mother  of  the  West,  is  the  legendary 
queen  of  the  Genii,  who  is  supposed  to  have  dwelt  in  a palace  in 
central  Asia  among  the  K’unlun  Mountains,  where  she  held  court 
with  her  fairy  legions.  Upon  sdme  slight  allusions  to  this  personage 
in  earlier  works  the  philosopher  Lieh  Tz’u,  in  the  fifth  century, 
B.  C.,  based  a fanciful  and  perhaps  allegorical  tale  of  the  entertain- 
ment with  which  King  Mu  of  the  Chou  dynasty  was  honored  and 
enthralled  by  the  fairy  queen  during  his  famous  journeyings  B.  G. 
985.  In  later  ages  the  superstitious  vagaries  of  the  Emperor  Wu  Ti 
of  the  Hau  dynasty  gave  rise  to  innumerable  fables  respecting  the 
alleged  visits  paid  to  that  monarch  by  Hsi  Wang  Mu  and  her  fairy 
troop;  and  the  imagination  of  the  Taoist  writers  of  the  ensuing  cen- 
turies was  exercised  in  glowing  descriptions  of  the  magnificence  of 
her  mountain  palace.  Here,  by  the  borders  of  the  Lake  of  Gems, 
grows  the  peach  tree  of  the  Genii,  whose  fruit  confers  the  gift  of 
immortality,  bestowed  by  the  goddess  upon  the  favored  beings 
admitted  to  her  presence,  and  hence  she  dispatches  the  azure- winged 
birds,  Ch’ ing-niao,  which  serve,  like  Venus’s  doves,  as  her  attendants 
and  messengers.  In  process  of  time  a consort  was  found  for  her  in 
th  e person  of  Tung  W ang  Kung,  or  King  Lord  of  the  East,  whose  name 
is  designed  in  obvious  imitation  of  her  own,  and  who  appears  to  owe 
many  of  his  attributes  to  the  Hindoo  legends  respecting  India.  By 
the  time  of  the  Sung  dynasty  (the  tenth  century,  A.  D. ) a highly 
mystical  doctrine  respecting  the  pair,  represented  as  the  first  created 
and  creative  results  of  the  powers  of  nature  in  their  primary  process 
of  development,  was  elaborated  in  the  Kuang-Chi.  The  more  sober 
research  of  modern  writers  leads  to  the  suggestion  that  Wang  Mu 
was  the  name  either  of  a region  or  of  a sovereign  in  the  ancient  West. 
Bowls  (a  pair),  everted,  of  thin  white  K’anghsi  porcelain  decorated  with  the 
eighteen  Lohan  or  Arhats  in  groups,  very  delicately  painted  in  vermilion. 
Mark  as  in  No.  26.  Height,  2f  inches;  diameter,  6 inches. 

In  his  Handbook  of  Chinese  Buddhism,  Dr.  Eitel  says  that  the  orig- 
inal meaning  of  Arhat  (“deserving”  ) is  overlooked  by  most  Chinese 
commentators,  who  explain  the  term  as  though  it  were  written  Arihat, 
“destroyer  of  the  enemy,”  i.e.,  of  the  passions,  and  “not  to  be 
reborn,”  i.  e.,  exempt  from  transmigration.  A third  explanation, 
based  on  the  original  conception,  is  “deserving  of  worship.”  The 
Arhat  is  the  perfected  Arya,  and  can  therefore  only  be  attained  by 
passing  through  the  different  degrees  of  saintship.  It  implies  the 
possession  of  supernatural  powers,  and  is  to  be  succeeded  either  by 
Buddhaship  or  by  immediate  entrance  into  Nirvana.  In  popular 
acceptation,  however,  it  has  a wider  range,  designating  not  only  the 
perfected  saint,  but  all  the  disciples  of  S’&kyamuni,  and  thus  it 
includes  not  only  the  smaller  circles  of  eighteen  and  five  hundred 
disciples,  but  also  the  largest  circle  of  one  thousand  two  hundred. 


CERAMIC  ART  IK  CHIKA. 


377 


The  first  Sutra  (that  of  forty-two  sections)  was  translated  into  Chinese 
in  the  year  A.  D.  67,  during  the  time  of  the  Later  or  Eastern  Han 
dynasty,  whose  capital  was  at  Loyang  in  Honan  province,  by  Kas’- 
yapa  MAtanga,  a disciple  of  S’&kyamuni,  who  entered  China  with 
Han  Ming-ti’ s embassy  on  its  return  from  Badakshan.  By  its  means 
the  Buddhist  doctrines  first  became  known  in  China.  Such  trans- 
lations from  the  Sanskrit  form  the  earliest  and  still  continue  to  be  the 
most  important  part  of  Chinese  Buddhistic  literature;  but  from  the 
fifth  century  onward  they  have  been  supplemented  by  original  com- 
positions in  the  Chinese  language  from  the  pens  of  native  adherents 
to  that  religion.  During  the  first  eight  centuries  of  the  existence  of 
the  Buddhistic  religion  in  China  the  smallest  circle  of  S’akyamuni’s 
disciples  comprised  the  same  number  as  in  India,  sixteen,  which  was 
increased  under  the  T’ang  dynasty,  in  the  ninth  century,  A.  D.,  by 
the  enrollment  of  two  additional  disciples  to  its  present  complement 
in  China — eighteen. 

34,  35.  Bowls  (2),  everted,  of  thin  white  K’anghsi  porcelain.  Replicas  of  Nos.  32,  33, 
but  of  larger  size.  Mark,  same  as  in  No.  26.  Diameter,  6|  inches. 

36.  Wine-cup,  tall,  everted,  of  thin  white  K’anghsi  porcelain;  ornamentation:  Between 
borders  of  Grecian  pattern  are  diamond-shaped  panels  containing  the  pa-kua, 
in  deep-blue  under  transparent  glaze.  Mark,  as  above.  Height,  3 inches; 
diameter,  31  inches. 

The  pa-kua,  or  eight  diagrams,  are  the  combinations  which  may  be  formed 
of  three  lines,  whole  or  divided  into  two  equal  parts.  They  are  said 
to  have  been  developed  by  Fuh-hi,  the  legendary  founder  of  Chinese 
polity,  who  is  believed  to  have  lived  from  B.  C.  2852  to  2738  by  aid 
of  a plan  or  arrangement  of  figures  revealed  to  him  on  the  back  of  a 
“dragon-horse.”  These  eight  figures,  which  can  be  traced  back  to 
the  two  primary  forms  representing  the  first  development  of  the  Yin 
and  Yank  (the  primordial  essences)  from  the  Ultimate  Principle,  . 
together  with  certain  presumptive  explanations  attributed  to  Fuh-hi, 
were  the  basis,  according  to  Chinese  belief,  of  an  ancient  system  of 
philosophy  and  divination  during  the  centuries  preceding  the  area 
of  Wen  Wang  (twelfth  century,  B.  C. ),  but  of  which  no  records  have 
been  preserved  beyond  the  traditional  names  of  its  schools.  Wen 
Wang,  the  founder  of  the  Chou  dynasty,  while  undergoing  imprison- 
ment (B.  C.  1144)  at  the  hands  of  the  tyrant  Shou,  devoted  himself 
to  study  of  the  diagrams,  and  . appended  to  each  of  them  a short 
explanatory  text.  These  explanations,  with  certain  amplifications  by 
his  son,  Chou  Kung,  constitute  the  work  known  as  the  “ Book  of  * 
Changes  ’ ’ of  the  Chou  dynasty,  which,  with  the  commentary  added 
by  Confucius,  forms  the  Yih  Ching,  the  Canon  of  Changes,  the  most 
venerated  of  the  Chinese  classics.  In  this  work,  which  serves  as  a 
basis  for  the  philosophy  of  divination  and  geomancy,  and  is  largely 
appealed  to  as  containing  not  alone  the  elements  of  all  metaphysical 
knowledge  but  also  a clue  to  the  secrets  of  nature  and  of  being  the 
entire  system  reposed  upon  these  eight  diagrams,  a ceaseless  process 
of  revolution  is  held  to  be  at  work,  in  the  course  of  which  the  vari- 
ous elements  or  properties  of  nature  indicated  by  the  diagrams  mutu- 
ally extinguish  and  give  birth  to  one  another,  thus  producing  the 
phenomena  of  nature.1 

37.  Vase  of  white  K‘anghsi  porcelain,  i..i  the  shape  of  a gourd  contracted  in  the  mid- 
dle ( hu-lu ),  having  a vine  trailing  over  it,  from  which  hang  large  bunches  of 

layers,  Chinese  Reader’s  Manual,  p.  333. 

NAT  MUS  1900 27 


378 


REPORT  OF  NATIONAL  MUSEUM,  1900. 


grapes  on  which  a squirrel  is  feeding,  in  various  shades  of  blue  under  a trans- 
parent glaze.  Mark,  as  above.  Height,  4f  inches. 

This  is  a well-known  Chinese  motive.  “ The  first  picture  of  the  squirrel 
and  the  vine”  (says  Anderson,  catalogue  of  Japanese  and  Chinese 
paintings  in  the  British  Museum,  No.  747)  “appears  to  have  been 
painted  by  Wing  Yuan-chang,  a famous  artist  of  the  Sung  dynasty, 
A.  D.  960  to  1259,  and  has  been  repeated  by  innumerable  copies  in 
China  and  Japan.” 

38,  39.  Plates  (a  pair)  of  white  K ‘anghsi  porcelain,  having  a large-sized  character  in 
center,  believed  to  be  Thibetan,  surrounded  on  the  sides  by  three  concentric 
lines  of  smaller  characters  of  similar  type;  on  outside  are  three  similar  lines 
of  characters  in  deep  blue  under  transparent  glaze.  Mark,  as  above.  Diam- 
eter, 51  inches. 

40,41.  Bowls  (a  pair)  of  thin  white  K ‘anghsi  porcelain.  Ornamentation  on  outside 
consists  of  a delicately-drawn  band  of  waves  on  lower  portion  where  bowl 
springs  from  foot,  with  the  pa-kua  or  eight  diagrams  (see  No.  36)  above. 
Inside,  within  double  circle,  at  bottom,  the  yin  and  yang,  all  in  deep  blue 
under  transparent  glaze.  Mark,  as  above.  Height,  2f  inches;  diameter,  4f 
inches. 

The  circle  represents  the  ultimate  principle  of  ‘ ‘ being,  ’ ’ which  is  divided 
by  a curving  line  into  two  equal  portions,  the  positive  and  negative 
essences,  yang  and  yinK  respectively.  Yang , the  more  lightly-colored 
portion,  corresponds  to  light,  heaven,  masculinity,  etc. ; yin,  the  more 
darkly  colored,  to  darkness,  earth,  femininity,  etc.  To  the  intro- 
duction of  these  two  essences  are  due  all  the  phenomena  of  nature. 

42,  43.  Bowls  (a  pair),  small,  everted,  of  white  K ‘anghsi  porcelain,  plain  inside. 

Decorated  on  outside  with  iris,  grasses,  longevity  fungus  ( ling  chih,  a species 
of  (?)  polyporus) , tea-roses,  and  other  flowers  delicately  painted  in  enamel 
colors  upon  a brick-red  or  vermilion  ground.  Mark,  Klang-hsi-yu-chih, 
“Made  by  special  order  of  Emperor  K ‘anghsi.”  Height,  2\  inches;  diame- 
ter, 4£  inches. 

44,  45.  Plates  (a  pair)  of  white  K ‘anghsi  porcelain,  having  a “sitting”  imperial  five- 
clawed  dragon  on  center,  and  similar  flying  dragons  (see  No.  4)  amid  clouds 
around  the  shelving  side.  Engraved  in  the  paste  under  a thick  deep-blue 
glaze  ( bleu  de  roi ) which  covers  the  entire  plate  inside  and  out,  except  the 
foot,  on  which  appears  within  a double  circle  Ta-chling  K‘ang-hsi-nien-chih, 

‘ 1 Made  during  the  K ‘anghsi  period  of  the  Great  Pure  ( the  present)  dynasty.  ’ * 
Diameter,  9f-  inches. 

46.  Bowl,  large,  everted,  of  pure  white  K’ anghsi  porcelain,  plain  inside.  On  outside 

is  a branch  of  peach  tree  bearing  fruit  and  leaves,  the  latter  in  all  stages 
from  the  light  green  of  the  newly  burst  leaf  to  the  brown  of  the  withered 
and  worm-eaten,  admirably  painted.  On  the  branch  is  seated  a large  bird, 
termed  by  the  Chinese  a paroquet,  but  having  a red  beak,  brown  breast, 
green  plumage  around  neck  and  below  it,  with  brown  on  back,  and  black 
and  gray  wings  and  tail.  A fine  specimen.  Mark,  as  above.  Height,  3 \ 
inches;  diameter,  8|  inches.  (See  Plate  1.) 

47,  48.  Wine-cups  (a  pair),  small,  with  straight  lips,  of  white  K’anghsi  porcelain, 

covered  outside  with  a monochrome  dull  glaze  of  violet  magenta;  plain 
inside,  except  at  bottom,  where  are  two  plums  and  some  beans  delicately 
painted.  Mark,  as  above.  Height,  If  inches;  diameter,  3i  inches. 

49-52.  Bowls  (4),  everted,  of  white  K ‘anghsi  porcelain,  having  imperial  five-clawed 
flying  dragons  (see  No.  4)  engraved  in  paste,  over  which  are  sprays  of  roses 
and  plum-blossoms,  buds  and  leaves  of  various  shades  of  green,  open  flowers 
and  butterflies  alternately  yellow  and  aubergine  purple-brown  under  a trans- 
parent glaze.  Mark,  as  above.  Height,  2f  inches;  diameter,  5f  inches. 


Report  of  U.  S.  National  Museum,  1900, — Hippisley, 


Plate  2 


Vas^s  of  K’anghsi  Porcelain  (No,  53)  and  Chienlung  Porcelain  (No.  236). 

I 

For  explanation  of  plate  see  pages  379,  398. 


CERAMIC  ART  IN  CHINA. 


379 


53.  Vase , of  square  body,  contracting  to  form  short,  circular,  everted  neck,  on  which 
above  each  side  of  the  body  is  the  character  for  “longevity,”  shou,  in  four 
out  of  the  hundred  forms  it  may  take  in  the  “seal”  style  of  writing.  The 
four  sides  of  the  body  bear  two  paintings  in  the  distinctive  colors  of  la  famille 
verte,  one  of  the  famous  club  of  the  seven  worthies  of  the  bamboo  grove 
amusing  themselves  with  music,  chess,  and  wine;  the  other  a historical  scene 
representing  an  ancient  general  on  his  way  to  attack  the  Man-tz’u,  or  South- 
ern Chinese,  giving  audience  during  a halt  upon  the  banks  of  the  Yangtse. 
Between  the  paintings  are  lengthy  disquisitions  suggested  by  the  subjects  of 
the  drawings.  As  these  are  dated  “the  29th  day  of  the  9th  moon  of  the  year 
of  the  cyclic  characters  Kwei  mo ,”  that  is,  1703,  it  is  justifiable  to  conclude 
that  is  the  date  of  the  vase,  that  being  the  only  year  to  which  these  charac- 
ters would  apply  during  K‘anghsi’s  reign  to  which  the  coloring  shows  it  to 
belong.  Mark,  a leaf.  Height,  18f  inches.  (See  Plate  2.) 

The  club  of  the  seven  worthies  of  the  bamboo  grove  was  an  association 
of  convivial  men  of  letters,  formed  in  the  latter  half  of  the  third 
century,  who  were  accustomed  to  meet  for  learned  discussions  and 
jovial  relaxation  in  a grove  of  bamboos.  The  seven  worthies  were 
Hsiang  Tz’u-Ch‘i;  Chi  Shu-yeh,  a celebrated  functionary  and  man 
of  letters,  but  no  less  renowned  as  a lover  of  the  wine-cup  and  as  a 
musician.  He  was  also  an  a,rdent  devotee  of  alchemy.  Incurring 
the  displeasure  of  Ss’u-ma  Chao,  minister  of  the  last  sovereign  of 
the  house  of  Wei,  he  was  executed  as  a propagator  of  magic  arts  and 
heretical  doctrines,  when  he  showed  his  contempt  of  death  by  tuning 
his  guitar  on  the  way  to  execution;  Lin  Po-lun,  who  was  wholly 
devoted  to  joviality  and  wished  he  could  be  accompanied  by  a grave- 
digger to  at  once  inter  him  should  he  fall  dead  over  his  cups;  Shan 
Chii-yuan,  a statesman,  under  Wu  Ti  of  the  T‘ang  dynasty,  cele- 
brated for  the  patronage  he  extended  to  rising  talent;  Wang  Chun- 
chupg,  a minister  of  Hwei  Ti  of  the  house  of  Chin,  at  once  infamous 
for  his  avarice  and  for  having  intrusted  the  discharge  of  his  duties 
to  base  underlings  that  he  might  abandon  himself  to  a life  of  extrava- 
gance and  pleasure;  Yiian  Chung-jung,  famous  as  a lover  of  music 
and  wine,  and  as  a philosopher  studying  content  and  moderation 
in  preference  to  the  ways  of  ambition;  and  Yiian  Tz’u-tsung,  uncle 
of  the  last,  a public  functionary,  but  preferring  the  quietism  preached 
by  the  philosophers  Lao-tze  and  Chuang-tze,  whose  follower  he 
professed  himself  to  be,  to  the  toils  of  public  life.1 

54,  55.  Plates  (a  pair)  of  white  K‘anghsi  porcelain,  decorated  inside  with  a painting 
in  natural  colors  of  the  great  Taoist  sage  and  philosopher  Lao-tze,  with  lofty 
head,  seated  under  a tree;  his  attendant  is  preparing  writing  materials  for 
his  use.  Round  the  brim  are  the  eight  Buddhistic  emblems  joined  by  con- 
ventional foliage  of  natural  color,  but  of  paler  tones  than  the  central  design. 
Mark,  as  on  No.  44.  Diameter,  6|  inches. 

Lao-tze  was  the  founder  of  the  Taoist  system  of  philosophy.  He  is  said 
to  have  been  surnamed  Li  and  named  Erh,  but  his  history  is  almost 
altogether  legendary.  His  biography,  as  given  by  the  great  histo- 
rian Ss’u-ma  Chien,  who  wrote  the  first  comprehensive  survey  of  the 
history  of  China  from  the  legendary  period  of  Huangti  down  to  B.  C. 
104,  contains,  however,  some  particulars  which  may  be  considered 
authentic.  According  to  this  account  he  was  the  keeper  of  the  records 
at  Lo,  the  capital  of  the  Chou  dynasty,  about  the  close  of  the  sixth 
century  B.  C.,  and  professed  a doctrine  of  abstraction  from  worldly 

’Mayers,  Chinese  Reader’s  Manual,  Nos.  246,  411,  587,  799,  963,  968. 


380 


REPORT  OF  NATIONAL  MUSEUM,  1900. 


cares  based  upon  speculations  regarding  Tao,  Reason,  and  Te,  Virtue. 
This  excited  the  curiosity  of  Confucius,  who  is  said  to  have  visited 
him  and  to  have  retired  disconcerted  at  his  bold  flights  of  imagina- 
tion. The  veracity  of  the  statement  regarding  this  meeting  is,  how- 
ever, open  to  doubt.  After  a long  period  of  service  Lao-tze  is  said 
to  have  retired  to  the  West,  after  confiding  to  Yin  Hsi,  the  keeper  of 
the  frontier  pass  of  Han  Ku,  a written  statement  of  his  philosophy, 
the  Tao-te-ching,  or  Classic  of  Reason  and  Virtue.  Later  mystics 
improved  upon  this  account  by  assigning  a period  of  mythical 
antiquity  and  a miraculous  conception  through  the  influence  of  a 
star  to  Lao-tze’s  birth,  alleging  him  to  have  been  the  incarnation  of 
the  supreme  celestial  entity.  According  to  the  Lieh-hsien-ch‘uan ■ an 
account  of  the  Taoist  genii,  he  became  incarnate  B.  C.  1321,  in  the 
State  of  Ts‘u.  His  mother  brought  him  forth  from  her  left  side 
beneath  a plum  tree,  to  which  hb  at  once  pointed,  saying:  “I  take 
my  surname  (namely,  Li,  a plum)  from  this  tree.”  When  born 
his  head  was  white  and  his  countenance  that  of  an  aged  man,  from 
which  circumstance  he  derived  his  name  of  Lao-tze,  the  Old  Child. 
The  remainder  of  the  account  resembles  that  given  above,  except 
that  he  is  made  to  live  for  centuries,  eventually  retiring  to  the  West 
about  B.  C.  1080.  No  countenance  is  given,  however,  in  the  writ- 
ings ascribed  to  his  pen  to  supernaturalism  of  any  kind,  and  the 
legends  regarding  his  life  have  evidently  been  largely  colored  by 
the  accounts  given  by  Buddhistic  writers  of  the  life  of  S’akyamuni. 
The  ideas  contained  in  the  Tao-t£-ching  of  Lao-tze,  which  has  been 
translated  into  English,  French,  and  German,  are  thus  summed  up 
by  Mr.  Mayers:1  “Creation  proceeding  from  a vast,  intangible, 
impersonal  first  principal,  self-existent,  self-developing,  the  mother 
of  all  things.  The  operation  of  this  creative  principle  fulfilled  in 
the  nature  of  man,  the  highest  development  of  which  again  is  to 
be  sought  for  in  a return  through  ‘quietism’  and  ‘non-action’  to 
the  mother  principle.  The  highest  good  is  accordingly  to  be 
enjoyed  in  a transcendental  abstraction  from  worldly  cares,  or 
freedom  from  mental  perturbation.  In  a doctrine  such  as  this  it 
is  not  difficult  to  trace  at  least  a superficial  likeness  to  the  theories 
of  Brahminism,  and  whether  originally  derived  from  Hindu  thought 
or  not  it  is  probable  that  the  cultivation  of  Lao-tze’s  teachings 
had  a potent  influence  in  preparing  the  way  for  an  influx  of  the 
metaphysical  speculations  of  Indian  philosophers  to  satisfy  a mental 
craving  not  provided  for  in  the  simple  materialism  which  Confucius 
expounded.  At  least  the  latitude  allowed  by  the  vagueness  of  Lao- 
tze’s  writings  both  enabled  and  encouraged  his  so-called  disciples 
and  adherents  to  graft  upon  the  leading  notions  of  his  text  an 
entirely  adventitious  code  of  natural  and  psychical  philosophy, 
which,  on  the  one  hand,  expanded  into  a system  of  religious  belief, 
a simple  travesty  of  Buddhism,  and,  on  the  other,  became  devel- 
oped into  a school  of  mysticism,  founded  apparently  upon  the  early 
secrets  of  the  professions  of  healing  and  divination,  from  whence 
it  rose  to  occult  researches  in  the  art  of  transmuting  metals  into 
gold  and  insuring  longevity  or  admission  into  the  ranks  of  the 
genii.  To  all  these  professions  and  pretensions  the  title  of  the 
religion  or  teachings  of  Tao  was  given,  although  they  were  in  reality 

1 Chinese  Reader’s  Manual,  No.  336. 


CERAMIC  ART  IN  CHINA. 


381 


in  no  wise  countenanced  by  the  doctrines  of  Lao-tze  himself.  His 
professed  disciples,  Lieh  Tze  and  Chuang  Tze  in  the  fourth  century, 
and  Huai  Nan  Tze  in  the  second  century  B.  C.,  progressively  devel- 
oped the  mystic  element  thus  introduced,  and  a notable  impetus 
accrued  to  it  from  the  superstitious  belief  with  which  the  preten- 
sions of  the  alchemists  were  received  by  the  Emperor  Wu  Ti,  from 
whose  period  onward  the  reverence  paid  to  the  founder  of  the  sect 
began  to  assume  a divine  character.”  In  A.  D.  666  he  was  for  the 
first  time  ranked  among  the  gods,  being  canonized  by  the  Emperor 
as  “The  Great  Supreme,  the  Emperor  of  the  Dark  First  Cause.” 
and  his  title  was  again  enlarged  in  1013.  The  achievement  of  cor- 
poreal immortality  having  been  the  chief  aim  of  the  sect  named 
after  him,  the  founder,  Lao-tze,  naturally  came  to  be  considered 
the  God  of  Longevity,  and  as  such  he  figures  in  all  the  paintings 
symbolical  of  a prayer  for  “dignity,  happiness,  and  long  life,” 
being  usually  depicted  as  an  aged  man  leaning  upon  a staff,  his  head 
being  of  abnormally  lofty  proportions. 

The  pci-chi-hsiang  or  “eight  lucky  emblems”  are  of  Buddhistic  origin 
and  derived  from  India.  Formed  in  clay  or  of  wood,  they  are 
offered  on  Buddhistic  altars,  and  largely  enter  into  the  architectural 
decoration  of  the  temples.  They  are  found  with  variations  both  of 
shape  and  of  detail.  In  their  ordinary  form  they  are: 

(1)  A bell  ( chung ),  or  more  usually  a wheel  (lun),  chakra , the  wheel  of 
the  law,  with  fillets. 

(2)  A univalve  shell  (Zo),  the  chank  shell  of  the  Buddhists,  with  fillets. 

(3)  A state  umbrella  ( san ),  with  fillets. 

(4)  A canopy  (kai),  with  fillets. 

(5)  A lotus-flower  ( lien-hua ),  without  fillets;  sometimes  represented  as 
a Pseonia  moutan. 

(6)  A vase  with  cover  ( kuan '),  with  fillets. 

(7)  Two  fishes  (erh  yu),  united  by  fillets.  Said  by  some  to  be  figurative 
of  domestic  happiness. 

(8)  An  angular  knot  wTith  fillets,  termed  ch‘ang,  the  intestines,  an 
emblem  of  longevity. 

Another  style  of  decoration,  also  consisting  of  eight  emblems,  is  that 
known  as  the  pa-pao,  or  “eight  precious  things;”  they  vary  consid- 
erably in  form,  and  the  explanations  of  their  meaning  are  unreliable 
and  conflicting.  The  more  usual  forms,  all  of  which  bear  fillets,  are: 
(1)  an  oblate  spherical  object  ( chen ),  representing  a pearl;  (2)  a 
hollow  disk  inclosing  an  open  square,  possibly  a copper  cash  ►em- 
blematical of  riches;  (3)  an  open  lozenge,  placed  horizontally;  (4) 
a lozenge  placed  horizontally,  with  a section  of  a second  lozenge  in 
the  upper  angle;  (5)  an  object  resembling  in  shape  a mason’s  square 
— the  sonorous  stone  ching,  emblematic  by  symphony  of  “good- 
ness,” “ happiness;”  (6)  two  oblong  objects  placed  side  by  side,  pos- 
sibly books;  (7)  two  rhinoceros  horns  shaped  into  quadrangular 
form;  (8)  a leaf  of  the  Artemisia , an  emblem  of  good  augury.  Other 
forms  found  in  these  emblems  are  a branch  of  coral,  a silver  ingot, 
a cake  of  ink;  and  the  shell,  lotus-flower,  and  fishes  belonging  prop- 
erly to  the  “ eight  lucky  emblems.” 

56,  57.  Plates  (a  pair)of  thin  pure  white  K‘anghsi  porcelain,  having  a flying  Feng  huang 
and  an  imperial  five-clawed  dragon  (see  No.  4)  amid  clouds  contained  by  a floral 
scroll  pattern  within  bands,  all  engraved  in  the  paste.  Round  the  rim  is  a 
border  of  bats  set  close  to  one  another  in  vermilion  red;  and  in  center  within 
a medallion,  are  the  characters  hung-fu-cK i-Vien  “great  happiness  fills  the 


382 


REPORT  OF  NATIONAL  MUSEUM,  1900. 


heaven,”  in  the  old  seal  form  engraved  in  the  paste  from  beneath  the  foot, 
but  reversed  so  that  they  read  correctly  on  the  upper  side  of  the  plate. 
Mark,  Ta-chling-klang-hsi  nien-chih,  1 ‘made  during  the  K ‘anghsi  period  of  the 
great  Pure  Dynasty.”  Diameter,  7-f  inches. 

58,59.  Plates  (a  pair)  of  white  K‘anghsi  porcelain,  for  use  on  birthday  occasions 
in  the  palace.  The  ornamentation  consists  in  the  center  of  the  plate  of  a 
large  shou  (longevity)  character  in  blue,  containing  a pointed  peach  of  the 
genii  in  enamel  glaze,  upon  which  is  represented  a stork  ( Grus  viridirostis 
Veillot)  in  blue  (the  peach  and  stork  being  emblems  of  immortality,  see 
No.  27).  Round  this  medallion  is  entwined  conventional  foliage  in  enamel 
colors,  branching  apart  to  afford  eight  spaces,  in  which  are  alternately  a 
peach  and  the  character  shou  in  gold  on  blue  medallion.  Outside,  on  the 
rim,  light-green  bamboo~staSs  spring  from  rocks  on  which  grows  the  red 
fungus  of  the  immortals  ( ling  chih).  Mark  as  in  last.  Diameter,  8J  inches. 

60.  Vase,  circular  in  shape,  of  white  K‘anghsi  porcelain,  belonging  to  the  famille 
verte.  On  it  is  represented  a garden  with  a pavilion  in  the  rear.  In  it  the 
seven  worthies  of  the  bamboo  grove  (see  No.  53)  are  depicted  engaged  in 
chess-playing,  music,  and  writing  upon  the  rocks,  the  main  picture  being 
confined  by  bands  of  arabesque  ornaments  interrupted  by  panels,  containing 
scholars’1  requisites,  books,  scrolls,  etc.,  and  above,  around  the  neck,  a rod- 
fishing scene.  Mark  as  above.  Height,  18^  inches.  (See  Platex3.) 

61-68.  Panels  (8)  of  white  K‘anghsi  porcelain,  bearing  representations  of  famous 
scenes  from  the  celebrated  historical  novel  San  kuo-chih,  or  Records  of  the 
Three  Kingdoms.  This  work,  the  most  popular  of  its  kind  in  China,  details 
the  triangular  contest  engaged  in  for  the  throne  between  Liu  Pei,  assisted 
by  Chu-Ko-liang,  Chang  Fei,  and  Kuan  Yii  and  Ts‘ao  Ts‘ao,  after  his  defec- 
tion from  Liu  Pei,  and  the  Sun  family,  which  resulted  in  the  partition  of 
the  Empire  among  the  houses  of  Han  of  Szechuen,  of  Wu  and  of  Wei, 
founded,  respectively,  by  ]au  Hsiian-te,  Sun  Chung-mou  and  Ts‘ao  Meng-te 
(A.  D.  220  to  280). 

69-76.  Panels  (8)  of  white  K‘anghsi  porcelain  decorated  with  flowers  and  butterflies 
in  enamel  colors  and  gold,  surrounded  by  a border  of  the  same  upon  a pale- 
green  ground  picked  out  with  black. 

These  panels  were  originally  in  the  form  of  bricks  of  about  an  inch  and 
a quarter  thickness.  It  was  customary  in  the  seventeenth  and 
eighteenth  centuries  for  princes  to  have  large  couches,  6 to  8 feet  in 
length  and  having  two  end  pieces,  of  ebony  beautifully  carved.  The 
one  I have  seen  had  five  of  these  square  porcelain  panels  or  bricks 
let  into  the  back  with  a circular  panel  above  the  central  one  of 
the  five,  and  one  in  either  end  piece.  They  were  so  fixed  by  means 
of  square  projections  from  the  wood-setting  which  fitted  into  corre- 
sponding holes  left  for  the  purpose  in  the  bricks  that  one  surface 
showed  on  either  side  of  the  setting  with  a rich  and  pretty  effect, 
one  surface  displaying  some  historical  scene,  the  other  a group  of 
flowers.  Good  specimens  are  now  comparatively  rare,  and  are 
much  sought  after  by  foreigners  to  saw  in  half  for  the  manufacture 
of  cache-pots. 

77,  78.  Panels  (2)  of  white  K‘anghsi  porcelain,  of  similar  origin  to  the  above,  but  of 
inferior  style  of  painting. 

79.  Brick  (small)  of  white  K‘anghsi  porcelain,  showing  the  appearance  of  Nos.  61  to 
78  in  their  original  condition,  before  the  surface  plates  had  been  sawn  away 
from  the  central  portion  into  which  fitted  the  wooden  projections  serving  to 
keep  the  porcelain  ornamentation  in  its  position  in  the  couch. 

1 Mayers,  Chinese  Reader’s  Manual,  No.  134. 


Report  of  U.  S.  National  Museum,  1 900— Hippisley. 


Plate  3, 


Vases  of  White  K’angHsi  Porcelain  (Nos.  81  and  60). 

For  explanation  of  plate  see  pages  383,  382. 


CERAMIC  ART  IN  CHINA. 


383 


SO.  Vase  of  white  K‘anghsi  porcelain;  shape,  slender  potiche.  The  ornamentation  in 
chief  seems  to  depict  a young  officer  leaving  his  post  after  a virtuous  tenure 
of  office,  which  has  won  for  him  not  only  promotion  from  the  Emperor  but 
also  the  love  of  the  people  he  has  ruled  over.  A young  man  dressed  in  pink 
is  represented  riding  a piebald  horse.  (In  the  time  of  K‘anghsi  the  Man- 
chu  officers  despised  and  ridiculed  Chinese  luxury  and  ceremony,  and  with 
them  the  sedan  chairs  they  have  in  later  days  adopted,  with  almost  all  else 
that  is  Chinese,  from  the  conquered  nation;  and  rode  on  horseback  with  but 
few  attendants.)  Over  him  an  attendant  is  holding  an  official  umbrella, 
which  from  its  three  flowers  of  different  colors  would  appear  to  be  a wau- 
ining-san,  oF^'bumbrella  of  ten  thousand  names,”  an  offering  made  to  a vir- 
tuous and  upright  officer  on  his  departure  from  his  post  by  a grateful  people, 
and  so  called  from  the  fact  that  it  bears  upon  it  the  names  of  the  donors 
either  embroidered  or  in  black  velvet  applique.  He  is  preceded  by  men 
bearing  lanterns  and  followed  by  an  attendant  carrying  a scroll  wrapped  in 
imperial  yellow  silk,  indicative  of  a communication  from  the  throne.  Round 
the  part  where  the  vase  diminishes  in  size  runs  a band  of  floral  pattern  on  a 
pink  ground  interrupted  by  panels  containing  grotesque  representations  of 
, dragons,  the  whole  bounded  on  either  side  by  bands  of  a geometric  pattern 
in  blue — all  painted  seemingly  above  the  glaze.  No  mark.  Height,  lOf  inches. 

81.  Vase  of  pure  white  K‘anghsi  porcelain,  tall,  the  body  bellying  out  from  the  foot 

and  then  gradually  tapering  upward.  On  one  side  is  a character  shou  (lon- 
gevity), on  the  other  the  character  fu  (happiness)  in  a diaper  pattern  in 
black  upon  a dark  enamel  green.  In  the  center  of  each  of  these  characters 
is  a medadion  about  4 inches  in  diameter,  containing  mythological  repre- 
sentations appropriate  to  the  character  in  which  it  is  placed.  On  the  for- 
mer is  the  Genius  of  Longevity  (as  Lao  Tze,  see  No.  54)  riding  a white 
stork  into  the  midst  of  the  Immortals.  On  the  latter  Tung  Wang  Kung,  the 
consort  of  the  Queen  of  the  Fairies  (see  No.  28),  is  handing  a baby  the  elixir 
of  life,  while  another  of  the  sages  stands  by  holding  the  ju-i.  Where  the 
body  of  the  vase  springs  from  the  foot  is  a band  of  formal  geometric  pattern 
and  round  the  rim  is  a border  of  flowers  on  dark  grey  ground  interrupted  by 
white  panels  inclosing  flowers,  the  whole  supported  by  a narrow  band  of  geo- 
metrical design.  A beautiful  specimen  of  K ‘anghsi  ware.  Height,  16^  inches. 

The  ju-i  is  a curved  baton,  generally  carved  in  jade  or  some  other  valu- 
able material.  It  is  probably  of  Buddhistic  origin,  as  it  is  one  of 
the  seven  precious  things  (Sansk.  Sapta  Ratna ) and  appears  in 
Buddhist  pictures  in  the  hands  of  priests  of  high  rank.  It  is  also 
regarded  as  a symbol  of  the  power  of  the  faith.  In  China  it  is  com- 
monly considered  an  emblem  of  good  luck,  its  name  signifying 
“(May  all  be)  as  you  wish,”  and  is  therefore  frequently  used  as  a 
present  to  friends  or  at  a wmdding.  It  is  also  a sign  of  authority, 
owing  to  the  fact  that  it  is  believed  to  have  been  used  in  India  as  a 
scepter.  (See  Plate  3. ) 

82.  Vase  of  pure  w hite  K ‘anghsi  porcelain,  tall,  circular  in  shape,  the  outline  rising 

a most  perpendicularly,  but  with  a slight  slope  outward,  then  contracting 
gracefully  to  neck,  which  everts  at  brim.  A child  holding  in  his  hand  a 
pink  lotus  flow er^{Nelumbium  speciosum)  is  being  presented  to  a tall  Rishi 
(?  Lao  Tze)  standing,  dressed  in  embroidered  robes  of  pink,  with  Tung 
Wang  Kung  (see  No.  28)  dressed  in  robes  of  yellow  and  blue  and  holding  in 
his  hand  the  peach  of  the  Genii.  On  neck  are  sprays  of  bamboo  and  the 
fungus  ( ling  chih)  of  the  Immortals.  A beautiful  specimen  of  K ‘anghsi  ware. 
The  figures  are  large,  Lao  Tze  being  8 inches  in,  height,  and  painted  with  con- 
siderable force  and  attention  to  detail.  Height,  17^  inches.  (See  Plate  4. ) 


384 


REPORT  OF  NATIONAL  MUSEUM,  1990. 


83.  Vase  of  white  porcelain,  small,  with  swelling  body  suddenly  contracting  to  form 

long,  tapering  neck,  covered  with  the  deep  red  glaze  known  as  lang  yao  or 
sang-de-bceuf,  which  has  retreated  from  brim,  though  vase  is  colored  inside. 
No  mark.  Height,  4J  inches. 

84.  Vase  of  white  porcelain,  pen-shaped,  with  short,  narrow,  everted  neck.  Covered 

with  a deep  green  glaze,  termed  by  the  Chinese  lu-lang-yao  or  green  lang 
ware.  (Regarding  the  origin  of  the  Chinese  designation  of  the  ware  repre- 
sented by  this  and  the  preceding  specimen,  see  page  346.)  The  glaze  is 
coarsely  crackled  inside  and  out.  This  is  the  only  specimen  of  green  lang-yao 
I have  ever  seen.  No  mark.  Height,  7f  inches. 

85.  86.  Plates  (a  pair)  of  pure  white  Yungcheng  (1723  to  1735)  porcelain.  Ornamen- 

tation consists  of  two  branches  of  the  peach  tree,  one  bearing  pink,  the  other 
white  blossoms.  The  branches  spring  from  the  foot,  and,  after  spreading 
over  the  outside,  cross  the  brim  to  cover  the  inside.  Five  peaches,  varying 
from  deep  red  at  the  pointed  end  to  green  near  stem,  are  delineated  on  the 
inside  and  three  on  the  outside.  Above  the  flowers  hover  three  bats  on 
inside  of  plate  and  two  on  outside,  thus  forming  a Chinese  expression  pa-t‘ao- 
wu-fu,  the  eight  peaches  and  the  five  forms  of  happiness  (see  No.  27),  equiva- 
lent to  ‘ ‘ long  life  and  every  kind  of  happiness.  ’ ’ The  painting  is  admirable. 
Mark  Ta-chlng-yung-cheng-nien-chih,  “Made  during  the  period  Yung  Cheng 
of  the  Great  Pure  dynasty.”  Diameter,  8J  inches. 

87.  Pice  bowl  of  thin  white  Yungcheng  porcelain  with  everted  brim.  Two  sprays  of 

roses  spread  so  as  to  decorate  the  entire  outside  with  bloom  and  leaves,  the 
end  of  the  spray  with  leaves  and  bud  passing  over  the  brim  to  inside.  This 
and  die  next  three  numbers  are  beautiful  specimens.  Mark,  as  in  last. 
Height,  2f  inches;  diameter,  4f  inches. 

88.  Rice  bowl  of  thin  white  Yungcheng  porcelain.  Two  sprays  of  peach  blossom,  one 

bearing  pink,  the  other  white  bloom,  start  from  foot,  spreading  so  as  to  deco- 
rate the  entire  outside  and  the  ends  of  the  sprays  passing  over  the  brim  to 
the  interior.  Mark,  as  above.  Height,  2J  inches;  diameter,  4f  inches. 

89.  Wine  cup  of  pure  white  Yungcheng  porcelain,  having  a crooked  branch  of  the 

dwarf  plum  bearing  white  bloom  most  delicately  painted  around  the  side. 
Mark,  as  above.  Height,  2f  inches;  diameter,  3f  inches. 

90.  Wine  cup  of  fine  white  Yungcheng  porcelain,  with  everted  brim.  Decoration: 

Four  medallions  of  about  1 inch  diameter,  containing  each  a group  of  heav- 
enly bamboos  with  red  berries  ( tlien-chu , Nandina  domestica),  convolvulus, 
etc.,  very  delicately  painted  in  natural  colors.  Mark,  as  above.  Height,  2f- 
inches;  diameter,  3f  inches. 

91.  92.  Saucers  (a  pair)  of  white  Yungcheng  porcelain.  Decoration:  Inside,  in  center 

within  a double  circle,  two  imperial  five-clawed  dragons  (see  No.  4)  with 
clouds  and  flaming  sun  engraved  in  paste,  the  clouds  and  one  dragon  being 
colored  green,  the  other  dragon  aubergine  purple  on  yellow  ground;  outside , 
round  the  rim,  four  flying  feng  huang  (see  No.  4),  between  each  two  are 
cumuli  clouds,  all  engraved  in  paste  and  colored  green  upon  a yellow  ground. 
On  foot  also  yellow.  Mark,  as  above,  in  aubergine  purple.  Diameter,  51- 
inches. 

93.  Saucer  of  pure  white  Yungcheng  porcelain.  Plain  inside;  on  outside  the  bulg- 

ing rim  is  decorated  with  red  lotus  flowers  ( Nelumbium  speciosum),  blue 
cornflowers  and  conventional  foliage  on  black  ground.  Mark,  as  above,  in 
blue.  A small  but  admirable  specimen  of  the  black  ground  porcelain  pro- 
duced by  Fangying.  (See  Preface.)  Diameter,  4£  inches. 

94,  95.  Wine  cups  (a  pair)  of  pure  white.  Yungcheng  porcelain,  decorated  with 

four  medallions  of  formal  floral  scroll  pattern.  Mark,  as  in  last.  Height, 
If  inches;  diameter,  2§  inches. 


Report  of  U.  S.  National  Museum,  1900. — Hippisley 


Plate  4. 


Vase  of  K’anghsi  Porcelain  (No.  82). 

For  explanation  of  plate  see  page  383. 


CERAMIC  ART  IN  CHINA. 


385 


96.  Rice  bowl  (small)  of  pure  white  Yungcheng  porcelain  with  straight  rim,  orna- 

mented with  five  similar  medallions  of  sprays  of  peach  bearing  some  white, 
some  pink  bloom,  and  two  peaches  and  two  bats  in  each,  symbolical  of  a 
long  and  happy  life  (see  No.  27).  Mark  as  above.  This  and  next  three 
numbers  are  beautiful  specimens.  Height,  2£  inches;  diameter,  3f  inches. 

97.  98.  Rice  ho  Us  (a  pair,  small)  of  pure  white  Yungcheng  porcelain,  decorated  with 

three  groups  of  fruit-bearing  branches,  one  of  peach,  one  of  pomegranate, 
and  one  ot  lung  yen  (the  “dragon-eye”  fruit,  Nephelium  longum).  Mark  as 
above.  Height,  2£  inches;  diameter,  3J  inches. 

99.  Rice  bowl  (small),  fellow  to  No.  89. 

100.  Plate  (?)  of  pure  white  Yungcheng  porcelain  covered  with  ornamentation  no 

less  remarkable  for  its  wealth  of  detail  than  for  the  delicate  harmony  of  its 
coloring.  In  the  center  is  a circular  elevation  of  about  1\  inches  diameter, 
which  has  been  cut  off  and  hollowed  out;  on  the  depression  thus  made, 
which  is,  however,  still  somewhat  higher  than  the  body  of  the  plate,  is 
painted  the  character  shou  (longevity)  in  blue  on  a yellow  ground,  which 
color  forms  the  ground  of  the  entire  plate,  but  is  scarcely  visible  so  thickly 
is  it  covered  with  white,  blue,  and  purple  lotus  flowers  and  formal  foliage  in 
subdued  tints.  Among  these  flowers  and  equidistant  from  each  other  are 
four  shou  characters  in  blue  forming  tiny  medallions,  surrounded  by  a cor- 
olla ( which” give  them  the  appearance  of  hsi-fang-lien  or  Indian  lotus  flowers) 
in  light  pink  and  lake.  Four  similar  ornamentations  enliven  the  rim.  Of 
the  underpart  the  rim  is  plain  yellow,  and  the  bottom  of  the  plate  a very 
delicate  blue-green,  except  in  center,  where,  in  space  corresponding  to  the 
elevation  on  the  upper  side  already  mentioned,  the  four  characters  Yung- 
cheng-nien-lehih  “Made  in  Yungcheng  period,”  in  the  ancient  seal  style, 
appear  in  blue  on  white  ground.  Diameter,  5f  inches. 

101.  102.  Dishes  (a  pair)  of  white  Yungcheng  porcelain,  circular  in  shape.  The  dec- 

oration inside  consists  of  a pair  of  yuan-yana  swimming  amid  pink  lotus  flow- 
ers and  leaves  in  enamel  colors,  within  a double  ring;  similar  double  ring  at 
brim.  On  outside  is  similar  decoration  with  border  round  the  brim  of  small 
imperial  five-clawed  dragons  amid  clouds  with  sun.  Decoration  shows  it  to 
have  been  intended  for  wedding  service  in  palace.  Mark  as  on  No.  85. 
Diameter,  7 inches. 

The  yuan-yang  are  the  male  and  female,  respectively,  of  Anas  galericulatar 
commonly  called  by  Europeans  “ Mandarin  duck.”  These  beauti- 
ful water  fowl  manifest  when  mated  a singular  degree  of  attachment 
for  each  other,  and  they  have  hence  been  elevated  into  the  emblems 
of  connubial  affection  and  fidelity. 

103, 104.  Bowls  (a  pair)  of  white  Yungcheng  porcelain  with  everted  brim.  Decoration 
inside  consists  of,  at  bottom,  a “sitting”  imperial  five-clawed  dragon  in  ver- 
milion within  a double  ring,  with  similar  ring  at  brim.  On  outside  are  two 
flying  multi-colored  feng  huang  (see  No.  4)  separated  on  either  side  by  an  im- 
perial five-clawed  dragon,  one  green,  the  other  red,  among  flowers  and  deli- 
cate foliations  in  enamel  colors;  around  the  brim  is  a narrow  border  of  the 
Eight  Buddhistic  Emblems  (see  No.  54)  joined  by  conventional  foliate  orna- 
ments. Mark  as  on  No.  85.  Height,  2f  inches;  diameter,  6 inches. 

105.  Plate  (large,  open)  of  pure  white  Yungcheng  porcelain  beautifully  decorated 
with  a bunch  of  large  sprays  of  rose,  pink  peach,  white  peach,  bamboos,  and 
longevity  fungus  ( ling-chih ),  which,  after  spreading  around  the  outside,  pass 
over  the  brim  and  cover  the  interior.  Mark  as  on  No.  85.  A fine  specimen, 
beautifully  painted.  Diameter,  19f  inches. 


386 


REPORT  OF  NATIONAL  MUSEUM,  1900. 


106.  Vase  of  pure  white  Yungcheng  porcelain  of  gourd  shape,  contracted  in  the  mid* 

die  ( hu-lu ),•  decorated  with  a spray  of  vine,  leaves  green,  grapes  purple  and 
shades  of  light  brown,  tendrils  blue;  on  the  ground  is  a gray  squirrel  eating 
some  of  the  grapes  it  has  plucked  from  the  vine.  Mark  as  on  No.  85.  Inter- 
esting to  compare  this  with  No.  37,  a corresponding  specimen  of  K'anghsi 
ware.  Height,  4-g-  inches. 

107,  108.  Plates  (a  pair)  of  white  Yungcheng  porcelain.  Decoration  inside  consists 

of  spreading  gourd  vines  with  green  leaves,  white  open  flowers,  pink  buds, 
and  four  gourds,  contracted  at  middle,  in  shaded  yellow,  all  in  enamel  col- 
ors; between  the  gourds  and  in  center  are  five  bats  (the  five  kinds  of  happi- 
ness) , all  within  a double  ring,  with  similar  ring  at  brim.  On  outside  similar 
decorations  run  round  the  bellying  rim.  Mark  as  on  No.  85.  Diameter,  10f 
inches. 

109.  Plate  of  white  Yungcheng  porcelain.  Decoration  inside,  five  formal  flowers  of 

vermilion,  with  blue  corolla  and  yellow  centers,  inclosed  in  a conventional 
ornamentation  of  green  leaves  and  blue  tendrils  within  a double  ring,  with 
similar  ring  at  brim.  On  outside  a similar  decoration,  containing  eight  of 
the  same  flowers,  covers  the  rim.  Mark  as  on  No.  85.  Diameter,  10f 
inches. 

110.  Vase  of  pure  white  Yungcheng  porcelain,  bellying  gently  outward  for  two- 

thirds  of  height,  when  it  contracts  suddenly  to  form  slender  neck.  Decora- 
tion consists  of  a branch  of  white  peach  and  young  bamboos,  which  spread 
from  foot  upward  and  outward,  beautifully  painted.  A fine  specimen,  but 
unfortunately  cut  at  neck.  Mark  as  on  No.  85.  Height,  7f  inches. 

111.  Pencil-vmsher  of  white  Yungcheng  porcelain,  bell-shaped.  On  it  is  depicted  the 

mountainous  shore  of  a lake  with  jutting  promontories,  on  which  are  cot- 
tages, with  men  fishing,  all  in  claret  red  under  a faintly  gray  transparent 
glaze.  Mark  as  on  No.  85.  Height,  2$  inches. 

112.  Tea-cup,  with  cover,  of  thin  white  Yungcheng  porcelain,  shaped  like  an  inverted 

bell.  On  it  is  depicted  a landscape  of  rolling  hillocks  separated  by  streams 
spanned  by  rustic  bridges,  delicately  painted,  with  fine  strokes,  in  brown, 
rocks  shaded  with  reddish  brown,  grass  land  between  hillocks  of  delicate 
pale  green.  Cover  similarly  decorated.  Mark,  a dragon  in  deep  blue  enamel 
above  glaze.  Height,  2J  to  2f  inches;  diameter,  4J  inches. 

113.  Vase  of  pure  white  Yungcheng  porcelain,  of  globular  shape.  Covered  with  pale 

blue  monochrome  bearing  four  uncolored  medallions  within  gilt  bands,  on 
each  of  which  is  painted  a landscape  scene  representing  one  of  the  four  sea- 
sons, drawn  by  a master  hand.  The  winter  scene  is  specially  worthy  of 
notice,  the  snow  covering  of  the  mountains,  roads,  and  roofs  being  admi- 
rably brought  out  by  throwing  a slight  haze  over  the  background.  Into  a 
large  circular  hole  in  the  top  of  the  globe  is  inserted  a flower  holder  of 
cloisonne  (dating  from  Chienlung’s  reign,  that  is,  subsequent  to  1735),  with 
seven  openings  for  single  flowers.  No  mark.  Height,  8f  inches. 

114.  115.  Plates  (a  pair)  of  pure  white  Yungcheng  porcelain.  Decoration  consists  of 

sprays  of  chrysanthemums  of  various  colors — on  one  they  are  white,  pink, 
red,  and  yellow;  on  the  other  blue,  pink,  cream,  and  vermilion — beautifully 
shaded,  with  leaves  of  several  tones  of  green  in  enamel  colors  above  glaze. 
Where  the  plate  rises  from  the  body  to  the  rim  it  is  fluted.  Mark  as  No.  85. 
Diameter,  6|  inches. 

116.  Pencil-washer,  of  pure  white  Yungcheng  porcelain,  in  shape  resembling  a low 
circular  dish  of  which  the  brim  curves  inward.  The  decoration  consists  of 
two  mang  (see  No.  9) , which,  grasping  longevity  fungus  and  holding  a branch 
of  same  in  the  mouth,  with  forked  tails  terminating  in  elaborate  scroll  form, 


Report  of  U.  S.  National  Museum,  1900. — Hippisley. 


Plate  5. 


Plates  of  White  Yungcheng  Porcelain  (Nos.  117  and  188). 


CERAMIC  ART  IN  CHINA. 


387 


run  around  the  center;  confined  above  and  below  by  a band  of  formal  scroll 
pattern — delicately  painted  and  shaded  in  a vitreous  lake  or  carmine  color 
(Chinese  yen-chih,  rouge)  above  glaze.  No  mark,  but  unmistakably  made 
under  the  direction  of  T‘ang  ying  (see  page  347) . Height,  If  inches;  diam- 
eter, 5 inches. 

117.  Plate  of  delicate  white  Yungcheng  porcelain,  with  everted  brim.  Decorated 

inside  with  a group  of  three  fresh  lichees  ( Nephelium  lichi),  a peach,  and  a 
yellow  lily  most  beautifully  painted  in  enamel  colors  of  natural  shade  above 
glaze.  The  outside  is  entirely  colored  with  a deep  rose,  which  imparts  a 
blush  to  the  white  inside.  This  and  the  following  number  are  admirable 
specimens  of  the  celebrated  “rose-back  plates.”  No  mark.  Diameter,  7f 
inches.  (See  Plate  5.) 

118.  Plate , exactly  similar  to  last,  but  with  different  decoration.  The  group  here 

consists  of  a deep-red  Chinese  peony  ( Pseonia  moutan),  a small  peach,  and  a 
branch  of  lung  yen  (the  “dragon-eye”  fruit  Nephelium  longum).  Diameter, 
7f  inches.  (See  Plate  5. ) 

119.  Bonbonniere,  of  pure  white  Yungcheng  porcelain,  of  flattened  globular  shape, 

box  and  cover  of  equal  size.  On  latter  a “sitting”  imperial  five-clawed 
dragon  (see  No.  4),  in  deep  red,  well  painted  and  shaded,  among  deep-blue 
flossy  clouds.  Round  the  box  are  two  similar  dragons  flying  in  pursuit  of 
sun.  Admirable  specimen  of  the  ware;  the  outlines  are  crisp  and  clear,  and 
the  colors  bright,  contrasting  pleasantly  with  the  pure  white  of  the  ground. 
Mark  Fui-ss’u-tlang-chih,  “ Made  at  the  order  of  the  Fui-ss’u-Pang  Pavilion.” 
Height,  4 inches;  diameter,  inches. 

As  each  artist  gives  some  more  or  less  romantic  designation  to  his  studio, 
so  the  Emperor  and  princes  give  some  fanciful  name  to  their  pal- 
ace, or  a portion  of  it,  which  is  not  unfrequently  found  upon  porce- 
lain specially  made  for  use  in  a special  hall  or  pavilion,  or  for  use 
by  the  owner  of  the  “hall.”  In  this  case  Fui-ss’u-Vang  was  the 
designation  given  to  a portion  of  his  palace  by  the  Imperial  Prince 
Ho,  living  during  Yungcheng’ s reign,  who  enjoyed  one  of  the  eight 
titles  of  hereditary  princedom  by  blood  royal  conferred  upon  as 
many  of  the  most  noted  Manchu  captains  at  the  time  of  the  con- 
quest of  China.  These  hereditary  princes  are  commonly  termed 
“iron-helmet  princes,”  and  the  distinction  is  one  very  seldom  con- 
ferred since.  During  the  present  reign  an  exception  has  been  made, 
as  a reward  for  his  distinguished  services,  in  favor  of  Prince  Kung, 
who  for  a quarter  of  a century  was  head  of  the  Board  of  Foreign 
Affairs. 

120.  121.  Tea-cups  (a  pair),  with  covers,  of  thin  white  Yungcheng  porcelain,  deco- 

rated with  two  imperial  five-clawed  dragons,  pursuing  sun  amid  clouds,  all 
in  deep  red,  the  clouds,  the  dragons,  and  the  scales  of  the  latter  being  out- 
lined in  bright  gold;  covers  bear  similar  decoration.  Mark  Ching-ss’u-t’ang, 
an  imperial  or  princely  hall  mark,  as  yet  unidentified.  Height,  inches; 
diameter,  4J  inches. 

122,  123.  Plates  (a  pair)  of  white  Yungcheng  porcelain.  Ornamentation  consists  of 
six  characters  in  “seal”  style  among  chrysanthemum  flowers  and  leaves 
surrounding  a seventh  character  inclosed  within  a wreath.  On  outside, 
round  the  brim,  eight  characters  in  “seal”  style  among  chrysanthemums 
and  flowers,  all  in  deep  blue  under  glaze.  Mark  as  on  No.  85.  Diameter, 
lOf  inches. 

124.  Vase  (small)  of  white  Yungcheng  porcelain.  From  alow,  broad  foot  the  outline 
slopes  without  curve  to  about  two-thirds  of  height  and  then  contracts  at  an 


388 


REPORT  OF  NATIONAL  MUSEUM,  1900. 


angle  of  slightly  under  90  degrees  to  form  narrow,  straight,  slender  neck. 
The  body  is  covered  with  conventional  trailing  flowers  and  leaves,  confined 
above  and  below'  by  a narrow  band  of  geometrical  pattern.  At  junction  of 
neck  with  body  is  a smaller  band  of  leaves  and  flowers,  and  above  another 
rowr  of  flowers  between  two  narrow  bands  of  foliate  scroll-work,  another 
band  of  which  runs  round  the  foot,  all  in  deep  blue  under  glaze.  Height, 
7 1 inches.  (See  Plate  7.) 

125.  Vase  (small)  of  white  porcelain,  of  delicate  shape,  somewhat  resembling  a pear, 

decorated  with  a group  of  peonies  springing  from  a mass  of  rockery,  boldly 
painted  in  deep  blue  under  a glaze,  which  has  a yellowish  tint,  owing  to  the 
closeness  of  the  crackle  (truite).  A good  specimen.  No  mark.  Height,  6£ 
inches.  (See  Plate  6.) 

126.  Wine-pot  of  w'hite  Yungcheng  porcelain,  cubic  in  shape,  with  tall,  slender,  rec- 

tangular handle;  decorated  with  chrysanthemums  and  ornate  foliage,  with 
a deep  band  of  formal  scroll-work  at  base,  and  foliate  scrolls  round  the  neck. 
A small  flower  pattern  runs  along  the  outside  of  the  spout  and  of  handle,  all 
in  good  blue  under  glaze.  Along  the  sides  of  the  handle  runs  a Grecian  pat- 
tern, and  along  those  of  the  spout  a floral  scroll,  moulded  in  relief  under 
glaze.  No  mark.  Height  of  body,  inches  to  top  of  handle. 

127.  Wine-cup  of  fine,  transparent,  white  Yungcheng  porcelain,  bearing  five  medal- 

lions, each  formed  by  a feng-hwang  (see  No.  4) , with  long  curved  wings,  care- 
fully painted  in  deep  blue  under  glaze.  Mark  as  on  No.  85.  Height,  2^ 
inches;  diameter,  3^  inches. 

128.  Vase  of  pure  white  Yungcheng  porcelain,  circular  in  shape,  bellying  outward 

to  two-thirds  of  height,  then  contracting  slightly  to  form  low,  open  neck  at 
point  of  contraction.  Two  handles,  one  on  either  side,  formed  of  grotesque 
elephants’  heads  holding  a ring  in  trunk  in  relief  under  glaze.  Decoration 
consists  of  a child  leading  one  water  buffalo,  with  two  others  following  more 
or  less  willingly,  among  spreading  weeping  willows,  beautifully  painted  in 
deep,  bright  blue  under  glaze.  An  admirable  specimen.  No  mark.  Height, 
8i  inches;  diameter,  7 inches.  (See  Plate  7.) 

129.  Vase  of  pure  white  Yungcheng  porcelain.  In  shape  a half  globe  with  tall, 

slender,  everted  neck  rising  from  the  center.  Decoration  consists  of  one  of 
the  Taoist  genii  (?  Lao  Tze)  in  long,  flowing  yellow  robe,  with  white  hair  and 
long,  crooked  stick,  accompanied  by  an  attendant  standing  under  a spreading 
pine  close  beside  dark-green-blue  rocks.  The  pine  trunk  is  delicately  shaded 
in  brown,  the  leaves  of  deep  green,  and  the  figures  painted  with  the  delicacy 
of  miniatures.  Attached  is  a metrical  inscription  to  the  following  effect: 

Above  a sheer  abyss  crag  o’erhangs  crag, 

Whose  heads  aloft  in  purple  distance  soar, 

Whose  look  to  mind  recalls  the  five  Star-gods 
Who  help’d  great  Shun  to  rule  in  days  of  yore; 

And  shady  glens  betwixt  form  cool  retreats 
Where  sages  meet  to  con  their  mystic  lore. 

It  is  recorded  that  the  “Five  Old  Men,”  the  spirits  of  the  Five  Planets, 
appeared  at  court  B."T3T^2467and  assisted  the  Emperor  Shun  with 
their  counsels  till  he  abdicated  in  favor  of  Yu,  when  they  disap- 
peared. Shun  then  dedicated  a temple  to  the  five  planets  and  offered 
sacrifices  in  their  honor,  whereupon  “five  long  stars”  appeared  in 
the  heavens  with  other  auspicious  signs. 

This  and  the  following  number  are  beautiful  specimens.  The  paintings 
upon  them  are  from  the  brush  of  Wang  Shih-mei,  styled  Yen-k’e,  a 
celebrated  artist  of  the  present  dynasty. 

Height,  7 inches;  diameter,  4£  inches.  (See  Pate  6.) 


Report  of  U.  S.  National  Museum,  1900. — Hippisiey. 


Plate  6 


Vases  of  White  Yungcheng  Porcelain  (Nos.  130,  125,  and  129). 

For  explanation  of  plate  see  pages  389,  388. 


Report  of  U.  S.  National  Museum,  1900. — Hippisley. 


Plate  7, 


Vases  of  White  Yungcheng  Porcelain  (Nos,  133,  128,  and  124). 


CERAMIC  ART  IN  CHINA. 


389 


130.  Vase  of  pure  white  Yungcheng  porcelain,  a pendant  to  the  above,  and  bearing 

a decoration  only  differing  in  details.  The  inscription  here  reads: 

The  sage  is  gone  on  pleasure  bent, 

Answer’d  the  hoy  ’neath  pine  woods’  shade; 

Where?  I know  not — but  in  these  hills 
Where  clouds  hang  thick  o’er  some  deep  glade. 

Height,  7 inches;  diameter,  inches.  (See  Plate  6.) 

131.  Wine-cup  (small)  of  pure  white  Yungcheng  porcelain,  decorated  with  three 

groups,  each  containing  three  sprays  of  bamboo  delicately  painted  in  green 
enamel  color  above  rich  glaze.  Mark  as  on  No.  85.  Height,  If  inches; 
diameter,  3f  inches. 

132.  Wine-cup  (small)  of  pure  white  Yungcheng  porcelain,  decorated  with  sprays  of 

pine,  bamboo,  and  plum-blossom,  symbolical  of  a long  life  (see  No.  181) 
delicately  painted  in  deep  blue  under  a brilliant  transparent  glaze.  Mark 
as  on  No.  85.  Height,  2 inches;  diameter,  3f  inches. 

133.  Vase  of  pure  white  Yungcheng  porcelain,  shaped  like  a gourd  contracted  in 

the  middle.  Entirely  covered  with  clouds,  through  which  appears  an 
imperial  five-clawed  dragon,  all  in  deep  transparent  blue,  contrasting  well 
with  the  pure  white  ground.  No  mark.  Height,  9 inches.  (See  Plate  7. ) 

134.  Pencil-holder , circular  in  shape  and  very  broad,  of  white  Ch‘enghua  porcelain 

(1465  to  1487).  Decoration,  in  beautiful  shade  of  blue  under  transparent 
glaze,  a long  poem  from  the  pen  of  the  celebrated  poet  Li  T‘ai-po,  of  the 
Sung  dynasty  (A.  D.  699  to  762),  inculcating  the  Epicurean  philosophy, 
which  may  be  summed  up  in  Horace’s  words,  Carpe  diem,  quam  minimum 
credula  postero.  The  advice  contained  in  the  poem  is  being  put  into  practice 
by  a merry  party  round  the  festive  board,  whose  actions  express  the  words 
of  the  Latin  author:  Fruamur  bonis  quoe  sunt;  pretioso  vino  et  unguentU  nos 
impleamus,  non  prsetereat  nos  flos  temporis.  No  mark.  Height,  6 inches; 
diameter,  6f  inches. 

135.  Rice-bowl  of  pure  white  Yungcheng  porcelain  ornamented  with  trailing  gourd 

and  leaves  moulded  in  relief  under  a thick  celadon  glaze.  Mark  as  on  No. 
85.  Height,  2|  inches;  diameter,  4|  inches. 

136.  Vase  of  pure  white  Yungcheng  porcelain  with  no  ornamentation.  Hexagonal 

in  shape,  bellying  outward  for  one-third  of  height,  then  rapidly  contracting 
to  form  long  tapering  neck,  on  which,  on  either  side,  is  an  open  ear-shaped 
handle  covered  with  a uniform  celadon  glaze.  Mark  as  on  No.  85.  Height, 
10f  inches. 

137.  Vase  (small)  of  white  Yungcheng  porcelain,  circular  in  shape,  with  narrow 

neck  and  ornamented  with  groups  of  lotus  flowers  moulded  on  the  paste  in 
relief  and  covered  with  thick,  pale  celadon  glaze.  No  mark.  Height,  5£ 
inches. 

138-145.  Rice-bowls  (8)  of  thin,  transparent  white  Yungcheng  porcelain.  Decoration 
on  outside,  formal  Chinese  pinks,  with  trailing  leaves  moulded  in  relief,  the 
bowl  springing  from  a lotus  flower  moulded  in  relief  above  foot;  inside,  at 
foot,  a lotus  flower  engraved  in  the  paste.  Covered  inside  and  out  with  a 
thick,  transparent,  celadon  glaze.  Mark  as  on  No.  85.  Height,  If  inches; 
diameter,  inches. 

146.  Vase  of  white  Yungcheng  porcelain,  gradually  bulging  from  base  till  suddenly 

caught  in  to  form  short,  narrow,  everted  neck,  and  covered  with  mono- 
chrome glaze  of  dull  carmine.  Mark  as  on  No.  85.  Height,  8|  inches. 

147.  Incense-burner  of  white  Yungcheng  porcelain,  in  shape  of  low,  broad  pan,  with 

a small  ring  handle  on  either  side,  covered  inside  and  out  with  a dappied- 
black  and  dark-green  glaze — souffle — to  imitate  old  discolored  bronze.  Highly 
valued  by  Chinese  collectors.  Height,  2£  inches;  diameter,  5^  inches. 


390 


REPORT  OF  NATIONAL  MUSEUM,  1900. 


148,  149.  Plates  (a  pair)  of  very  thin,  pure  white  Yungcheng  porcelain;  small  and 
covered  with  a delicate  imperial  yellow  brilliant  glaze.  On  foot,  which  is 
alone  left  white,  mark  as  on  No.  85,  in  blue.  Diameter,  3f  inches. 

150.  Vase  (small)  of  white  Yungcheng  porcelain,  of  bulbous  shape,  with  long  nar- 
row neck,  covered  with  monochrome  deep  lake  or  carmine  thick  vitreous 
glaze,  covered  with  pittings,  in  the  terminology  of  French  writers,  ayant 
V apparence  chagrinee  d’une  peau  d’ orange.  Height,  7f  inches. 

151, 152.  Rice-bowls  of  white  Yungcheng  porcelain,  everted.  Plain  inside.  On  out- 
side are  imperial  five-clawed  dragons  flying  amidst  formal  foliated  scrolls, 
engraved  in  paste,  the  entire  outside  being  covered  with  a monochrome 
brilliant  glaze  of  deep  green.  Mark  as  on  No.  85.  Height,  2f  inches;  diam- 
eter, 5|  inches. 

153, 154.  Fish-bowls  (a  pair)  of  Yungcheng  earthenware  covered  with  a curious  glaze, 
termed  by  the  Chinese J * iehjdmu.,  ‘ ‘ iron  rust,  ’ ’ and  having  the  appearance  of 
holding  minute  iron  filings  in  suspension.  Mark  as  on  No.  85,  engraved  on 
the  foot.  Height,  2\  inches;  diameter,  3 inches. 

155.  Vase  of  pure  white  Yungcheng  porcelain,  of  slender  shape,  curving  gently 
outward  to  two-thirds  of  height,  when  it  contracts  to  form  slender  neck, 
terminating  in  a flat  open  mouth.  Covered  externally  with  a bright,  trans- 
parent crimson  glaze,  which  has  thickened  at  base  of  neck  and  assumed  a 
darker  shade.  Colored  glaze  has  been  very  carefully  applied,  so  that  inte- 
rior and  brim  of  mouth  remain  pure  white.  No  mark.  A specimen  of 
Nien-yao — that  is,  of  the  porcelain  made  under  the  direction  of  Nien  Hsi-yao. 
(See  page  342.)  Height,  9 inches. 

156, 157.  Screens  (a  pair)  of  pure  white  Yungcheng  porcelain,  oblong  in  shape,  and 
decorated  with  landscapes  in  sepia:  (1)  A village  under  shelter  of  rocks  on 
lofty  bank  of  a river,  on  opposite  bank  a valley  and  water-fall  overshadowed 
by  trees;  (2)  a handsome  pavilion  on  rocky  eminence  and  approached  by 
long,  winding  river-side  road,  overlooks  the  river,  on  which  boats  are  seen 
sailing.  Fair  specimens  of  the  “ideal  landscapes* * of  Chinese  artists.  No- 
mark. Height,  14  inches;  length,  141  inches. 

158.  Rice-bowl  of  white  Yungcheng  porcelain,  decorated  with  lilies,  irises,  and  Chinese 
pinks  of  various  hues  painted  in  enamel  colors  of  natural  tones  above  glaze 
upon  a deep  violet  ground.  Mark  Yung-cheng  nien-chih,  "“  Made  during  the 
Yungcheng  period.* * Height,  2f  inches;  diameter,  5|  inches. 

159, 160.  Rice-bowls , small  (a  pair),  of  pure  white  Yungcheng  porcelein.  On  a purple- 
violet  ground  are  sprays  of  a small  blue  flower  with  conventional  foliage, 
which  form  four  panels  colored  lemon  yellow,  on  which  are  purple  peonies, 
with  green  leaves  painted  in  enamel  colors  of  natural  tones  above  glaze. 
Mark  as  on  last.  Height,  3f  inches;  diameter,  4f  inches. 

161.  Snuff-bottle  of  pure  white  Yungcheng  porcelain,  of  flat  circular  shape,  decorated 

on  either  side  with  a group  of  cream-yellow  chrysanthemums  apd  vermilion- 
colored  coleus , painted  with  great  delicacy.  Mark  Lo-Ku-f  ang,  “the  Hall 
of  Delight  in  Antiquity,’*  a princely  designation  as  yet  unidentified. 

162.  Hanging-vase  of  skimmed-milk-color  white  Yungcheng  porcelain,  of  amphora 

shape,  but  without  arms.  A mang  (see  No.  9)  boldly  molded  in  relief,  with 
head  aloft  and  light  coral  red  in  color,  curls  round  the  neck.  The  vase  is 
• covered  with  a thick,  brilliant,  transparent  glaze,  except  at  base,  where  runs  a 
deep  band,  and  at  brim,  where  runs  a narrower  band,  of  geometrical  scroll- 
work in  dull  white  above  glaze.  No  mark.  Height,  4f  inches;  diameter, 
2f  inches. 

163.  Vase  of  pure  white  Yungcheng  porcelain.  In  shape  a half-globe  with  tall, 

slender,  everted  neck  rising  from  center.  A mang  (see  No.  9)  in  high  relief, 
beautifully  molded,  with  tail  having  scroll-like  terminations,  curls  down- 


Report  of  U.  S.  National  Museum,  1900. — Hippisley, 


Plate  8, 


Pilgrim  Bottle  of  White  Chienlung  Porcelain  (No.  176) 

For  explanation  of  plate  see  page  391. 


CERAMIC  ART  IN  CHINA. 


391 


ward  round  the  neck,  grasping  a large  branch  of  longevity  fungus;  the  mang 
and  fungus  are  of  deep  vermilion;  the  leaves  of  latter  are  green,  covered 
with  thick,  brilliant  transparent  glaze.  No  mark.  A lovely  specimen  of 
T’angying’s  ware.  (See  page  347.)  Height,  7 inches;  diameter,  4£  inches. 

164—167.  Rice-bowls  (4)  of  white  Yungcheng  porcelain  covered  with  closely-crackled 
( truit'e ) glaze,  having  a purple  tint  rubbed  into  the  crackling.  Decoration, 
inside,  at  bottom,  a peach  with  six  leaves,  forming  a medallion;  outside,  four 
of  the  Buddhistic  emblems  (see  No.  54),  each  supported  on  either  side  by  a 
spray  of  flowers,  to  which  it  is ‘attached  by  long  flowing  ribbons.  Mark  as; 
on  No.  85,  in  black  on  crackled  foot.  Height,  2 inches;  diameter,  5i  inches. 

168.  Pencil-washer  of  earthenware  in  shape  of  a longevity  peach  sliced  in  half.  It 

is  covered  inside  with  thick  white-blue  glaze  studded  with  deep  pittings,  as 
of  burst  bubbles,  a rose  and  bud  at  bottom;  outside  is  colored  with  the 
natural  shades  of  an  unripe  peach.  The  handle  is  formed  of  the  woody  stock, 
which  throws  out  smaller  shoots  running  over  the  sides  of  fruit,  upon  which 
are  full-blown  flowers,  unopened  buds,  leaves,  and  green  fruit  moulded  in 
high  relief  and  painted  in  natural  colors.  A curious  specimen  of  a ware  much 
esteemed  by  the  Chinese.  No  mark.  Height,  1£  inches. 

169.  Cup  of  pure  white  Yungcheng  porcelain  of  circular  shape,  everted.  Decoration 

consists  of,  inside , waves  at  bottom,  at  sides  bats,  and  at  brim  a border  of 
Grecian  pattern,  all  engraved  in  paste  under  transparent  glaze;  outside , 
between  bands  of  a very  delicate  diaper  pattern  of  red  at  brim,  and  of  green 
with  light-red  center  at  foot,  is  depicted  a high  officer  (possibly  the  Emperor 
himself)  with  two  attendants  descending  the  steps  of  a pavilion  built  under 
the  shade  of  wide-spreading  trees,  and  bearing  in  his  arms  the  ju-i,  or  emblem 
of  power,  to  meet  a military  officer,  who,  having  just  dismounted  from  his 
horse,  around  which  stand  subordinate  officers  and  attendants,  is  advancing 
to  meet  the  former.  The  inscription  CWu-chiang-ju-huang-chih-pei,  “Cup  of 
him  who  departed  as  General  and  returned  as  Grand  Secretary,”  shows  the 
cup  to  have  been  ordered  by  the  Emperor  to  confer  upon  some  high  officer 
who  had  been  commander-in-chief  in  some  war,  and  who  had  been  invested 
with  the  high  distinction  of  grand  secretary  upon  his  return  crowned  with 
victory.  It  should  be  added  that  in  China  military  officers  always  occupy  a 
relatively  lower  rank  than  do  ciyil  officers,  and  that  the  dignity  of  grand 
secretary,  of  which  there  are  four,  is  the  highest  to  which  any  subject,  not 
of  princely  rank,  can  attain.  Who  the  officer  so  honored  in  this  instance 
was  has  not  been  as  yet  determined.  Apart  from  the  intrinsic  interest  attach- 
ing to  such  a specimen,  the  cup  is  remarkable  for  the  miniature-like  delicacy 
and  wealth  of  detail  which  characterize  the  painting.  Mark  Hsu-hua-Cang- 
chih-ts6ng,  “ Made  for  Hsu-hua  Pavilion  (the  designation  of  part  of  the  impe- 
rial palace — that  is,  for  the  Emperor)  to  confer  upon”  some  high  officer. 
Height,  2 inches;  diameter,  4£  inches. 

170.  Vase  of  white  Yungcheng  porcelain.  Circular  in  shape,  circumference  rising 

straight  to  one-half  the  height  of  vase,  when  it  suddenly  contracts  to  form 
long,  narrow  neck.  Decoration  consists  of  formal  flowers,  peaches,  and  foli- 
age in  natural  colors  on  light-blue  ground,  except  where  three  gold  circles 
form  as  many  medallions  on  the  white  ground,  on  which  are  painted  groups 
of  chrysanthemums  and  red  coleus  in  natural  colors.  No  mark.  Height, 
8 inches;  diameter,  4£  inches. 

171.  Pencil-washer  of  white  Ming  porcelain:  For  details  see  above,  page  371. 

172-175.  Plates  (small)  of  white  Ming  porcelain:  For  details  see  above,  page  372. 

176.  Pilgrim-bottle  of  pure  white  Chienlung  (1736  to  1796)  porcelain  of  wheel  shape 

on  an  ovate  foot,  with  low  circular  neck  attached  by  foliated  handles. 
Decoration  on  front  and  back  consists  of  a central  boss  bearing  a formal 


392 


REPORT  OF  NATIONAL  MUSEUM,  1900. 


foliate  pattern,  and  surrounded  by  a band  of  Grecian  pattern;  round  the 
boss  as  center  are  eight  lambrequin  panels,  each  containing  one  of  the  eight 
Buddhistic  emblems  ( see  No.  54 ) , the  panels  being  confined  by  another  band  of 
Grecian  pattern.  This  ornamentation  and  a band  of  Grecian  pattern  round 
the  brim  of  neck  are  moulded  in  relief  on  the  paste,  and,  together  with  the  plain 
edge  of  the  foot,  are  covered  with  a rich  celadon  glaze.  The  neck,  arms, 
remainder  of  foot,  and  flat  surface  of  disk  of  wheel  (or  vase)  are  ornamented 
with  lotus  flowers  and  leaves  in  bright,  deep  blue  under  glaze.  Beneath 
foot,  mark  Ta-ch‘ing-chien-lung-nien-chih,  “Made  in  the  Chienlung  period  of 
the  Great  Pure  Dynasty.”  A very  beautiful  specimen.  Height,  18f  inches; 
diameter  of  disk,  9f  and  14J  inches.  (See  Plate  8.) 

177.  Vase,  small,  of  elongated  drum  shape,  of  pure  white  Chienlung  porcelain,  with 

ornamentation  in  deep  blue  beneath  transparent  glaze,  consisting  of  formal 
interlacing  scroll-work  forming  lotus-shaped  panels  containing  the  fungus  of 
.longevity  ( ling-chih ),  surmounted  by  svastika;  around  the  rim  another  band 
of  delicate  foliated  scroll-work.  Mark  as  in  last.  Height,  3f  inches. 

The  svastika  is  a mystic  diagram  of  great  antiquity.  It  is  mentioned  in 
the  Ramayana  and  found  in  the  well  temples  of  India,  as  well  as 
among  all  the  Buddhistic  people  of  Asia,  and,  as  the  emblem  of 
Thor,  among  Teutonic  races.  In  China  it  is  the  symbol  of  the 
Buddha’s  heart,  i.  e.,  of  the  esoteric  doctrines  of  Buddhism,  and  is 
the  special  mark  of  all  deities  worshipped  by  the  Lotus  school. 

178.  Vase  of  pure  white  Chienlung  porcelain,  of  flattened  bulbous  shape,  with  long 

tapering  neck,  covered  with  bats  and  clouds  in  blue,  delicately  shaded  under 
glaze,  confined  above  by  narrow  band  and  below  by  a double  broader  band, 
partly  round  the  foot  and  partly  on  Body  where  it  begins  to  bulge,  of  con- 
ventional scroll-work.  A handle  on  either  side  of  neck,  formed  by  a mang 
(see  No.  9),  finely  molded  in  relief,  clambering  upward  from  body  of  vase. 
Mark  as  in  last.  Height,  7-f  inches. 

179-180.  Vases  (2)  of  pure  white  Chienlung  porcelain.  The  shape  resembles  that  of 
a pear,  Swelling  gently  as  it  rises  until  it  suddenly  contracts  to  terminate  in 
a short,  narrow,  everted  neek.  At  neck  a light  formal  pattern,  below  which 
is  a collar  of  scroll-work  in  panel  form.  Upon  the  body  are  sprays  of  peony 
( Pseonia  moutan ),  plum  blossom,  and  chrysanthemum  above,  and  below 
branches,  each  bearing  fine  fruits,  of  pomegranate,  peaches,  and  lichees; 
confined  at  foot  by  a deep  band  of  upright  leaves — all  in  deep  bine,  shaded, 
under  a thin  transparent  glaze.  Mark  as  in  last.  Height,  12^  inches. 

181--182.  Rice-bowls  (2)  of  white  Chienlung  porcelain,  ornamented  with  designs  well 
painted  in  deep  blue  under  a transparent  glaze;  inside,  at  bottom,  a medal- 
lion of  conventional  ornate  scroll-work;  outside , three  clusters,  one  of  bamboo, 
one  of  plum -blossom,  and  one  of  pine.  Mark  as  in  last.  Height,  2f  inches; 
diameter,  inches. 

P’englai-shan  (Mount  Horai  of  the  Japanese)  was  one  of  the  three  Isles 
of  the  Genii,  supposed  to  lie  off  the  eastern  coast  of  China,  in  which 
flowed  the  fountain  of  life  in  a perpetual  stream,  giving  sempiternal 
vigor  to  the  happy  denizens  of  this  paradise  who  drank  its  waters. 
The  pine,  the  bamboo^  the  plum,  the  peach,  and  the  fungus  of 
longevity  grew  forever  on  its  shores;  the  long-haired  tortoise  dis- 
ported in  its  rocky  inlets,  and  the  white  crane  built  her  nest  in  the 
limbs  of  its  everlasting  pines.  All  these  have  thus  come  to  be 
emblematical  of  long  life.  The  first  three,  however,  are  almost 
always  found  in  combination  under  the  title  of  sung-chu-mei  (pine, 
bamboo,  and  plum ) ; the  remainder  either  separately  and  alone  or 
as  adjuncts  to  the  appropriate  genii. 


For  explanation  of  plate  see  pages  393,  397. 


CERAMIC  ART  IN  CHINA. 


393 


183, 184.  Vases  (2)  of  white  Chienlung  porcelain  of  potiche  shape,  but  with  everted 
neck,  requiring  no  cover;  bearing  ornamentation  of  bats,  emblematical  of 
happiness,  and  lotus  flowers  with  formal  foliage  interlacing  of  various  shades 
of  blue  under  transparent  glaze;  at  neck  a band  of  formal  design  and  at  foot 
a deeper  band  of  same.  On  either  side  a sort  of  handle  molded  in  relief, 
of  a tiger’s  head  holding  a ring  in  the  mouth.  Mark  same  as  last.  Height, 
81  inches. 

185.  Vase,  small  and  slender,  of  pure  white  Chienlung  porcelain,  of  double  thickness 
at  neck,  the  outer  layer  of  paste  terminating  below  in  an  everted  scallop- 
edged  ruffle,  curving  outward  and  downward.  Ornamentation  consists  of 
roses  and  chrysanthemums  painted  in  deep  blue  under  thick,  transparent 
glaze,  leaving  three  medallions  of  pure  milk  white,  in  which,  as  open-work, 
chrysanthemums  and  bamboos,  roses,  and  plum  blossoms  are  respectively 
molded  with  great  delicacy  in  relief  under  thick  white  glaze.  Round  the  pro- 
jecting edge  at  neck  runs  a foliated  scroll  engraved  in  relief  under  a white 
glaze.  A very  beautiful  specimen.  Being  intended  to  hold  flowers,  the 
open-work  of  the  medallions  has  required  the  presence  of  an  interior  vase, 
separate  in  the  body  but  uniting  at  the’ neck,  to  hold  water.  No  mark. 
Height,  5 inches.  (See  Plate  13.) 

186, 187.  Rice-bowls  (2)  of  white  Chienlung  porcelain.  Ornamentation:  inside,  two 
circles  inclosing  a “ sitting  ’ ’ imperial  five-clawed  dragon  (see  No.  4)  amid 
clouds;  outside,  two  flying  dragons  of  the  same  character  amid  clouds;  all  in 
very  deep,  beautiful  blue  under  a transparent  glaze.  Mark  Ta-ch’ ing-chien- 
lung-nien-chih,  in  seal  character  in  blue.  Height,  2f  inches;  diameter,  5| 
inches. 

188.  Pilgrim-bottle  of  white  Chienlung  porcelain  of  same  shape  as  No.  176,  but  of 
smaller  size,  and  bearing  precisely  same  decoration,  which  is,  however,  in 
deep  blue,  shaded,  under  a transparent  glaze.  Mark  same  as  in  last.  Height, 
131  inches;  diameter,  5|  and  10  inches. 

189, 190.  Vases  (a  pair)  of  white  Chienlung  porcelain  bellying  outward  above  foot, 
then  gradually  contracting  to  form  slender  neck,  terminating  in  a small 
globe.  The  ornamentation  of  the  body  consists  of  sprays  of  chrysanthemums, 
peach,  plum  blossom',  pomegranate,  peonies^  and  lichees^  confined  below  by 
a band  of  formal  panel  scroll-work,  surmounting  a band  of  clouds,  and 
above  by  two  bands  of  Grecian  pattern  inclosing  between  them  one  of 
formal  panel  scroll-work,  surmounted  by  a second  band  of  foliate  scroll,  the 
decoration  being  in  deep  blue  under  a transparent  glaze.  Mark  same  as  on 
No.  187.  Height,  11  inches. 

191, 192.  Plates  (a  pair)  of  white  Chienlung  porcelain.  Unique  specimens,  displaying 
great  artistic  skill  as  well  as  wealth  and  beauty  of  ornament.  At  rim  is  a 
band  having  a foliate  patternincised  in  the  paste,  of  conventional  flowers  and 
foliage  in  enamel  colors  on  a magenta  ground.  Separated  from  this  by  a 
narrow  bar  of  gold  is  a second  band  of  open-work  circular  chain  pattern  of 
alternately  blue  and  gold  links  on  a ground  of  pale  green,  bearing  a deli- 
cate ornamentation  in  black.  Another  thin  bar  of  gold  divides  this  band 
from  the  body  of  the  plate,  which  is  of  lemon  yellow,  having  a foliated  pat- 
tern engraved  in  the  paste.  On  the  lemon-colored  ground  are  seen  the  five 
poisonous  reptiles,  the  flying  centipede,  the  snake.,  the  scorpion,  the  lizard, 
and  the  toad,  .with  peony  flowers  and  antidotes  againsFthe  venom  of  these 
reptiles,  namely,  patch-work  bags  containing  sprays  of  the  yu  plant  (?  dog- 
. wood)  and  the  p’tt  or  typha  rush,  all  in  enamel  colors  of  natural  tint.  On 
outside,  on  either  side  of  perforated  chain,  which  is  painted  as  on  inside,  is  a 
band  of  leaf  pattern  in  shades  of  green  on  a deep  orange  ground  picked  out 
with  a foliate  pattern  in  gold.  On  foot  is  a simple  ring  studded  with  gems 

NAT  MUS  1900— — 28 


394 


REPORT  OF  NATIONAL  MUSEUM,  1900. 


O ■ 

UCL 


X) 


of  green  enamel  in  high  relief  on  deep  orange  ground.  Mark  in  vermilion 
same  as  on  Nos.  186,  187.  Diameter,  8f  inches.  (See  Plate  9.) 

\ At  festival,  on  the  5th  dav  of  the  5th  moon  of  each  year, 

special  offerings  are  made  to  these  insects,  and  rough  paintings  of 
% similar  design  to  these  plates  are  then  hung  over  the  door  of  each 
house. 

193.  Vase  of  white  Chienlung  porcelain,  slender  in  shape,  sloping  gently  outward  to 

about  two-thirds  of  height,  then  gently  contracting  to  form  neck,  which 
curves  outward  at  brim.  Upon  a ground  of  delicate  pale  green  throughout 
is  painted  the  decoration,  which  consists  of  conventional  flowers  and  foliage 
of  varied  colors  outlined  in  gold.  This  main  decoration  is  confined  at  foot 
by  a deep  border  of  formal  foliated  scroll  pattern  in  brick  red  on  a yellow 
ground,  and  at  base  of  neck  by  a narrow  border  of  same,  from  which 
springs  a crown  of  banana  leaves  of  light  green,  veined  with  gold  and  out- 
lined with  blue;  above  this  is  a band  of  conventional  flowers  and  foliage 
confined  by  a foliate  scroll  outlined  with  blue  and  gold  on  a yellow  ground. 
Mark  in  gold  same  as  on  Nos.  186,  187.  Height,  13f  inches. 

194.  Vase  of  white  Chienlung  porcelain.  Circular  in  shape,  curving  gently  outward 

till  at  four-fifths  of  its  height  it  contracts  to  form  a short  neck  curving  out- 
ward at  brim.  On  a ground  of  pea  green  covered  with  a foliated  pattern 
engraved  in  the  paste  branches  of  , yulan  ( magnolia  c-onspicua),  red  peach 
blossom,  peonies  with  full-blown  flowers  of  red  and  of  yellow,  with  vermilion 
buds,  spring  from  a cluster  of  rocks  on  which  stands  the  sacred  fenghuang 
(see  No.  4),  all  beautifully  painted  and  shaded  in  natural  colors  "under 
brilliant  glaze,  the  greens  being  enamels.  Inside  of  vessel,  gold.  Mark  as 
in  Nos.  186, 187.  Height,  19£  inches.  (See  Plate  10.) 

195.  Vase,  tall,  circular  in  shape.  On  a pea-green  ground  covered  with  a small 

foliate  pattern  incised  in  the  paste  is  an  old  man,  holding  a long  crooked 
stick  and  dressed  in  a long  vermilion  cloak,  with  a tall  conical  cap  upon  his 
head,  to  whom  a boy  dressed,  in  pink  is  presenting  on  bended  knee  a bat, 
while  four  other  bats  hover  in  the  air,  well  painted  under  a brilliant  glaze. 
No  mark.  Height,  14f  inches.  (See  Plate  10.  )• 

A common  motive  with  Chinese  artists  is  the  presentation  to  Lao  Tze 
(see  No.  54),  the  great  philosopher  and  founder  of  the  Taoist  sect, 
of  an  immortality  peach  by  Tung  Wang  Kung,  the  consort  of  the 
legendary  Queen  of  the  Fairies,  Hsi  Wang  Mu,  or  by  one  of  his 
attendants,  on  the  Sage’s  arrival  at  her  mountain  palace  in  the 
K’unlun  range  (see  No.  28).  The  same  subject  is  here  depicted,  a 
bat  replacing  the  peach.  Since  the  pronunciation  of  the  character 
for  “bat”  is  the  same  as  of  that  for  “ happiness,”  the  five  bats  sym- 
bolize the  “five  blessings  or  happinesses.”  , Lao  Tze  is  receiving 
the  first,  “longevity;”  the  remaining  four — riches,  peacefulness  and 
serenity,  love  of  virtue,  and  an  end  crowning  the  life — hpver  over 
his  head. 

196-201.  Wine  cups  (6)  of  white  Chienlung  porcelain,  colored,  inside,  pale  green;  out- 
side, deep  blue  ( bleu  de  roi),  on  which  spread  sprays  of  peony,  yulan  ( mag- 
nolia conspicua ),  and  grasses  delicately  painted  in  gold,  and  confined  at  brim 
and  where  cup  springs  from  the  foot  by  a band  of  Grecian  pattern,  also  in 
gold.  Good  specimens,  well  preserved.  Mark  as  on  Nos.  186, 187.  Height, 
If;  diameter,  2f  inches. 

202,  203.  Vases  (a  pair)  of  pure  white  Chienlung  porcelain,  of  shape  termed  by  Chinese 
hai-tlang,  ( Cydonia  japonica  and  Pyrus  spectabilis  or  baccifera),  slender,  gently 
bulging  to  two-thirds  height,  then  contracting  slightly  to  neck,  everted  at 
mouth,  entirely  covered  with  deep-blue  glaze  ( bleu  deroi);  divided  by  flut- 
ings  into  four  sections  throughout,  each  section  or  scallop  decorated  with 


~ / 

— — ny 


Report  of  U.  S.  National  Museum,  1900. — Hippisley. 


Plate  10, 


i 

j 


Vases  of  Chienlung  Porcelain  (Nos.  195  and  194). 


Report  of  U.  S.  National  Museum,  1 900,— Hippisley, 


Plate  1 1 


Vase  of  Chienlung  Porcelain  <No.  202). 


For  explanation  of  plate  see  page  394. 


CERAMIC  ART  IN  CHINA. 


395 


ornamental  scroll  work  and  peach  sprays  with  conventional  medallions  formed 
of  longevity  fnngns,  from  which  spring  lotus  flowers,  over  each  of  which  hov- 
ers a bat  with  extended  wings  (symbol  of  happiness).  Around  foot  is  a deep 
border  formed  by  a band  of  flowers  supporting  a second  band  of  conventional 
foliate  scroll  work.  Round  the  neck  is  a border,  partly  of  geometrical  pat- 
tern, partly  of  foliate  scroll  work;  above,  in  middle  panel,  a medallion  of 
peach  branches  with  leaves  and  fruit  flanked  on  sections  of  side  panel,  which 
are  formed  by  a gilt  handle  similar  to  conventional  scroll  work  on  body,  by 
narrow  spray  of  similar  peach.  Round  the  rim  is  a narrow  band  of  bats  with 
outstretched  wings.  The  ornamentation,  which  typifies  ‘dong  life  and  hap- 
piness, ’ ’ is  throughout  of  bright  gold.  Inside  a pale  green.  On  foot  of  same, 
coTor  mark  as  on  No.  186.  Unique  and  very  beautiful  specimens.  Height, 

18  inches;  diameter,  6-f  and  8 inches.  (See  Plate  11.) 

204,  205.  Vases  (a  pair)  of  pure  white  Chienlung  porcelain,  circular  in  shape,  bulg- 
ing suddenly  above  foot  to  one-half  height,  then  contracting  to  form  long  > , 
neck,  everted  at  brim.  Decoration  consists  of  an  imperial  five-clawed  dragon, 
pursuing  sun  and  five  bats  among  clouds  over  breaking  waves  at  foot;  beauti- 
fully moI3ed~ih  relief  under  white  glaze.  Round  the  foot  a band  of  Grecian 
pattern  incised  in  pa.ste  under  glaze.  Mark  as  on  No.  186.  Height,  12  inches; 
diameter,  8 inches.  (See  Plate  17.) 

206.  Vase  of  white  porcelain,  globular  in  shape,  with  straight,  somewhat  broad  neck. 

Decoration:  From  a mass  of  rocks,  colored  blue,  green,  and  white,  and  on 
which  grow  red  and  white  peonies,  springs  a spreading  tree,  with  green  trunk 
and  leaves,  some  white,  some  green.  Among  the  branches  stands  a stork 
on  one  leg,  another  stork  is  shown  flying  from  among  clouds  above,  while 
four  more  stand  below  m various  positions  on  and  around  the  rocks,  the 
storks  being  white,  with  black  legs,  tails,  and  beaks  and  red  crests.  The 
ground  color  of  the  vase  is  brown  aubergine,  covered  throughout  with  a 
brilliant  transparent  glaze.  The  date  is  uncertain,  but  the  style  of  decora- 
tion indicates  that  it  may  belong  to  a period  considerably  anterior  to  Chien-  - 
lung’s  reign;  it  certainly  is  not  of  a later  date.  Height,  15f  inches. 

Represents  the  home  of  the  stork  of  immortality  on  P‘eng-lai-shan  (see 
No.  181).  (See  Plate  12.) 

207-210.  Tea  cups  (4)  of  thin  white  Chienlung  porcelain,  with  wide  mouths.  Deco- 
rated with  slight  sprays  of  conventional  lotus  flowers  and  leaves,  forming 
four  panels,  in  each  of  which  is  a small  similar  flower  with  a butterfly  on 
outstretched  wings  above  in  deep  tones  and  one  in  light  tones  below.  Very 
beautifully  painted.  Mark  as  on  No.  186.  Height,  2f  inches;  diameter,  4f 
inches. 

211,  212.  Cups  (a  pair),  small,  of  pure  white  Chienlung  porcelain,  with  wide  mouths.  * 
Inside  plain.  On  outside,  on  thick  violet  ground,  are  sprays  of  iris;  Chinese 
pinks  of  various  colors,  red  peonies,  and  yellow  peonies  spring  from  the  foot 
of  cup.  Mark  as  on  No.  186.  Height,  If  inches;  diameter,  3f  inches. 

213.  Hanging  vase , flat,  of  pure  white  Chienlung  porcelain.  On  an  imitation  wooden 
stand,  colored  vermilion,  with  a scroll  pattern  (representing  the  carving  usual 
on  such  stands)  in  gold,  stands  a vase  of  the  shape  of  a gourd  contracted  at 
the  middle  ( hula ) , conventionalized  by  giving  a scalloped  outline  to  the  two 
globular  portions,  into  which  the  gourd  is  shaped  by  the  central  contracting 
band.  On  the  lower  and  larger  portion  is  a panel  outlined  in  gold,  and  of 
lower  level  than  the  surrounding  body.  On  the  panel  is  a landscape  paint- 
ing of  mounted  Tartars,  in  official  dress,  hunting;  the  body  is  decorated  with 
delicate  foliations  in  gold,  studded  with  conventional  star-shaped  flowers  of 
various  but  subdued  colors.  A narrow  band  of  panel  scrolls  in  brick  red, 
edged  with  white  on  a green  ground,  and  a second  band  of  delicate  blue  and 
pink  flowers  on  a pale-yellow  ground,  contract  the  gourd  at  the  center. 


896 


REPORT  OF  NATIONAL  MUSEUM,  1900. 


Above,  on  the  smaller  swelling,  the  ground  of  which  corresponds  with  that 
of  the  larger  swelling  below,  is  a second  gold-edged  panel  containing  a four- 
line  stanza  signed  by  the  Emperor  Chienlung,  himself  an  ardent  sportsman, 
extolling  the  pleasures  of  the  chase.  The  outward  sloping  neck  is  decorated 
with  a band  of  scalloped  upright  banana  leaves  on  the  same  ground  as  covers 
the  lower  portion  of  the  vase.  Mark  as  on  No.  186.  The  landscape  and 
figures  admirably  painted;  style  of  decoration-  shows  great  artistic  skill. 
Height,  8^  inches. 

214.  Wine  pot  and  cover  of  pure  white  Chienlung  porcelain.  Of  slender,  graceful 

form,  entirely  covered  with  plain  gold.  No  mark.  Height,  8|  inches. 

215,  216.  Bowls  (a  pair)  of  white  Chienlung  porcelain.  Everted  brims.  Covered 

inside  with  a straw-colored  glaze.  Outside  the  ground  is  of  brick-red,  show- 
ing in  the  natural  white  of  the  porcelain  a decoration  of  conventional  lotus 
flowers,  chrysanthemums,  and  foliage,  shaded  with  the  color  of  the  ground, 
vermilion.  Mark  as  on  No.  186.  Height,  2f  inches;  diameter,  5^- inches. 

217.  Pencil-holder  (small)  of  enamel,  on  copper,  cylindrical,  with  four  gilt  dragon 

handles.  Divided  into  two  sections  by  three  narrow  horizontal  bands,  one 
at  top,  one  at  foot,  and  the  third  midway  between,  of  minute  convolvulus, 
peony,  iris,  and  chrysanthemum  blooms  on  white  ground.  The  two  sections 
thus  formed  have  a ground  of  diaper-pattern  in  deep  olive  green;  on  the 
upper  section  in  each  space  between  the  bands  is  a panel  containing  a min- 
iature landscape  in  crimson;  on  the  lower  are  two  long  panels  of  landscapes 
with  men  fishing  with  rod  and  line,  separated  by  two  smaller  panels  each 
containing  a European  lady  holding  a flower,  delicately  painted.  Specimen 
of  the  work  of  T’angying  (see  page  347).  Mark  as  on  No.  186.  Height,  2J 
inches;  diameter,  1|  inches. 

218.  Ease  of  white  Chienlung  porcelain.  Shaped  as  a slender  gourd.  Contracted  at 

middle  by  a band  of  narrow  pointed  leaves  above,  and  another  below,  a cen- 
tral ribbon,  moulded  in  relief;  from  upper  and  smaller  swelling  spring  two 
ear-shaped  handles,  covered  entirely  with  dull  monochrome  glaze  of  deep 
olive  or  “tea-dust”  ( ch‘a-mo ) color.  Mark  as  on  No.  186  impressed  in  foot. 
Height,  10  inches. 

219.  Flower-holder  of  white  Chienlung  porcelain.  In  shape  a much-flattened  globe, 

from  which  springs  a wide  everted  neck  closed  at  top,  with  three  perforations 
to  hold  single  flowers,  covered  with  brilliant  deep  blue  ( bleu  de  roi)  glaze. 
Mark  as  on  last.  Height,  3£  inches. 

220.  Vase  (small)  of  pure  white  Chienlung  porcelain.  From  a small  stand,  vermilion 

color,  bearing  a geometrical  scroll  pattern  in  gold — to  imitate  a stand  of 
carved  wood — springs  the  vase,  gently  bulging  to.two-thirds  height,  when  it 
contracts  to  form  everted  neck.  The  body  is  of  dull  light  blue,  on  which  are 
conventional  flowers  in  various  shades  of  pink  and  yellow  with  scroll  foliage 
in  shades  of  green,  veined  with  darker  tints  of  same,  confined  at  foot  by  a 
panel  band  of  delicate^pink  edged  with  dull  green,  and,  at  contraction  below 
neck,  by  a band  of  foliated  scrolls  of  pink  outlined  with  deep  green,  the  pink 
becoming  lighter  till  it  merges  in  a narrow  band  of  vermilion  studded  with 
small  open  circlets  of  gold.  The  decoration  at  base  of  neck  consists  of  a 
bulging  band  of  yellow,  bearing  conventional  flowers  of  various  shades  of 
pink  and  yellow,  and  green  scroll-like  foliage.  Above  on  the  trumpet- 
shaped  neck  Is  the  same  dull,  light-blue  ground  as  on  body,  bearing  pink 
and  white  flowers  with  delicate  green  leaves,  confined  below  by  a band  of 
upright  banana  leaves  of  palest  green  outlined  with  white  and  veined  with 
black,  and  above  by  s band  around  the  brim  of  vermilion,  bearing  scroll- 
work in  gold.  Inside  pale  sea  green.  On  foot  of  same,  mark  as  on  No.  186. 
A choice  specimen.  Height  5|  inches.  (See  Plate  13.) 


Report  of  U.  S.  National  Museum,  1 900.— Hippisley, 


Plate  12, 


Vase  of  White  Porcelain  (No.  206). 


For  explanation  of  plate  see  page  395. 


CERAMIC  ART  IN  CHINA. 


397 


221,  Pencil-holder  of  pure  white  porcelain,  of  broad  circular  shape.  Consists  of  beau- 

tifully molded  openwork  representing  a bamboo  grove  strewn  with  rocks 
partially  covered  with  stone  crop,  on  one  of  which  is  a “painted”  thrush 
about  one-half  natural  size.  The  bamboo  stalks  are  of  pale  green  enamel, 
the  fibers  at  joints  shaded  in  brown,  leaves  of  emerald  merging  into  peacock 
green;  rocks  light  green,  delicately  shaded  into  blue  at  hollows  and  under 
parts;  thrush  very  delicately  painted  in  brown,  shaded  with  darker  tint  of 
same,  every  feather  being  defined.  An  exceptionally  fine  specimen.  Mark 
lu-chu-shan-fang-chen-ts‘ang:  “The  precious  treasure  of  the  house  of  green 
bamboo  hill.”  Height,  6 inches;  diameter,  5f  inches.  (See  Plate  9.) 

222,  Pencil-holder  of  white  Chienlung  porcelain.  Tall,  cylindrical  in  shape.  Formed 

of  sections  of  slight  bamboos  kept  in  place  by  a ribbon  at  top  and  another  at 
base,  passing  through  the  center  of  the  bamboos  and  tied  in  bows.  Painted 
in  gray,  well  shaded  in  black  under  rich  glaze.  No  mark.  Height,  4f 
inches;  diameter,  2f  inches. 

223,  Hanging-vase  of  pure  white  Chienlung  porcelain.  From  well-molded  stand  of 

dull  vermilion,  with  rectangular  supports  representing  a carved  wood  stand, 
springs  the  elliptical  shaped  vase  with  short,  bulging  neck.  The  body  of  the 
vase  consists  of  a deep  magenta  ground,  on  which  are  conventional  flowers 
of  alternate  blue,  violet,  and  yellow,  shaded  with  deeper  tones  of  same 
colors,  and  scroll -like  foliage  of  deep  green  at  center,  passing  into  lightest 
green  or  white  at  the  edges.  In  center  is  a scallop-edged  panel,  bearing  in 
large  old-seal  characters  a poem  composed  by  the  Emperor  and  bearing  his 
seal.  Mark  beneath  foot  as  on  No.  186.  Height,  10  inches;  diameter,  2J 
and  8f  inches. 

224,  225.  Jars  (a  pair) , with  covers,  of  white  Chienlung  porcelain.  Globular  in  shape. 

On  a bright  yellow  ground  are  four  groups  of  growing  plants  of  white  lotus 
tipped  with  pink,  of  white  plum  blossoms  with  pink  centers,  of  white  and 
pink  peonies,  and'  of  white  and  pink  lotus  flowers  and  green  leaves,  the  out- 
lines and  veining  of  which  are  engraved  in  the  paste,  confined  above  and 
below  by  bands  of  panel  and  foliate  scroll  patterns  combining  the  same  col- 
ors as  those  used  upon  the  flowers — green,  white,  and  pink.  Over  the 
mouth  is  a close-fitting  cover  ornamented  with  two  butterflies  and  two 
sprays  of  plum  blossom  on  the  same  deep  yellow  ground — all  covered  with 
a brilliant  transparent  glaze.  No  mark.  Height,  10J  inches. 

226.  Vase  of  white  Chienlung  porcelain,  shaped  as  a gourd  contracted  at  middle 

(hidu).  Entirely  covered  with  an  elaborate  design  of  trailing  gourds  (of 
same  shape  as  vase)  with  conventional  scroll-like  leaves  and  bats  outlined 
in  gold  and  shaded  partly  in  gold  and  partly  in  silver  upon  a dull  olive 
green  or  “tea  dust”  ( chla-mo ) ground.  A very  rare  specimen.  Mark  as  on 
No.  186.  Height,  8 inches.  (See  Plate  13.) 

227.  Pencil  holder  of  white  Chienlung  porcelain,  of  slender,  cylindrical  shape.  The 

philosopher  Lao  Tsze,  on  his  way  to  the  palace  of  the  Fairy  Queen,  Hsi  Wang 
Mu  (see  No.  28),  is  represented  soaring  upon  a cloud,  arranging  his  shoe. 
In  the  distance  is  the  mountain  palace  of  the  fairies,  with  the  Queen’s  azure- 
winged attendant,  birds  (chling  niao) , all  beautifully  moulded  in  high  relief 
under  a brilliant,  deep  yellow  glaze.  No  mark.  Height,  5 inches;  diameter, 
1£  inches. 

228-233.  Wine  cups  (6)  of  white  porcelain,  plain  inside.  Nos.  228,  230,  231,  233  are 
studded  with  small,  conventional,  star-like  flowers,  circular  in  shape,  of 
various  colors  delicately  shaded,  on  a celadon  ground.  Nos.  229  and  232 
bear  the  same  flowers,  but  outlined  and  shaded  in  gold  on  a dull  black 
ground.  No  mark.  Height,  If  inches;  diameter  2f  inches. 


• , , x 


398 


REPORT  OF  NATIONAL  MUSEUM,  1900. 


234.  Plate  of  white  Chienlung  porcelain,  entirely  covered  with  a brilliant,  pale  cela- 

don glaze,  above  which  is  depicted  in  bright  gold  a clump  of  bamboos 
springing  from  rocks,  with  a short  poem  eulogistic  of  their  beauty.  Mark 
as  on  No.  186.  Diameter,  If  inches. 

235.  Vase  of  pure  white  Chienlung  porcelain,  of  flattened,  bulbous  shape,  with 

straight,  slender  neck.  Outlined  by  engraving  in  the  paste  are  flaming  sun, 
colored  carmine,  and  conventional  clouds  colored  white,  blue,  green,  and 
carmine,  and  above  foot  waves  of  brilliant  green,  with  foam  and  breaking 
edges  of  pure  white.  The  ground  outside  of  the  incised  decorations  is  deep 
imperial  yellow,  on  which  are  two  imperial  five-clawed  dragons  (see  No.  4), 
one  descending  from  the  clouds,  the  other  rising  from  the  waves,  beautifully 
drawn  and  shaded  in  deep  brown,  the  yellow  ground  appearing  through  the 
shading.  At  rim  of  neck  is  a foliated  scroll  border  engraved  in  the  paste  and 
colored  white  with  blue  outline;  inside  colored  yellow.  No  mark.  Height, 
11|  inches.  (See  Plate  14.) 

236.  Vase  of  pure  white  Chienlung  porcelain  of  lancelle  shape.  In  tumbling  waves  of 

brilliant  blue  (shaded)  with  light  foam  crests  is  a four-clawed  dragon  of 
resplendent  white  beautifully  moulded  in  high  relief,  covered  with  a very 
thick,  transparent  vitreous  glaze.  A beautiful  and  effective  ornament.  No 
mark.  Height  14|  inches;  diameter,  7f  inches.  (See  Plate  2.) 

237.  Snuff-bottle  of  pure  white  Chienlung  porcelain,  with  stopper  to  match.  Circular 

in  shape,  very  thin  and  flat.  Upon  a pale  lemon-yellow  ground  are  two 
round  scalloped  gourds  on  trailing  stems,  bearing  five-petal  flowers,  some 
white,  some  pink,  and  leaves  of  various  shades  of  green  delicately  shaded, 
with  a butterfly  on  either  side  below  with  outspread  wings,  painted  in  deli- 
cate tones  and  with  considerable  skill.  Mark  Vhien-lung-nien-chih:  “Made 
in  reign  of  Chienlung.” 

238.  Vase  of  white  Chienlung  porcelain,  pear-shaped,  with  low,  narrow  everted  neck. 

On  a white  ground  are  four  imperial  five-clawed  dragons  (see  No.  4),  well 
drawn  and  shaded  in  carmine  amid  chrysanthemums  and  formal  lotus  (the 
so-called  western  lotus)  with  trailing  scroll-like  foliage,  all  in  deep  blue, 
confined  at  foot  and  at  top  by  a deep  band  of  foliated  panel-pattern  in  blue, 
with  small  ornament  in  magenta  in  center.  Above  this  band  at  top  and 
extending  to  foot  of  neck  is  a band  of  longevity  fungus  in  magenta  with  blue 
scroll  leaves.  Round  the  neck  a circlet  of  banana  leaves  pointing  upward. 
Mark  as  on  No.  186.  Height,  14  inches.  (See  Plate  15.) 

239.  Snuff-bottle  of  pure  white  Chienlung  porcelain,  small,  of  circular  shape,  some- 

what flattened,  with  a handle  formed  by  a grotesque  lion’s  head  holding  a 
ring  in  its  mouth  moulded  in  relief  on  the  convexity  of  either  side,  colored 
vermilion  and  picked  out  with  gold.  On  the  body  are  stalks  of  pink  and 
white  peonies,  pink  rose,  white  yulan  ( magnolia  conspicua)  and  red  plum 
blossom  springing  from  rockery,  very  beautifully  painted  under  a brilliant 
transparent  glaze.  Mark  as  on  No.  186.  Height,  l£  inches. 

240.  241 . Bowls  (a  pair)  of  pure  white  Chienlung  porcelain,  with  everted  brim.  Deco- 

rated inside  at  bottom  with  octagonal  ornament  and,  alternately,  formal 
flowers  and  butterflies  rising  from  the  eight  sides  of  the  ornament;  above 
and  round  the  sides,  four  gourd-shaped  vases  delicately  ornamented  with 
geometrical  and  scroll  designs  and  bats  and  chrysanthemums,  suspended 
over  them  being  elaborate  hexagonal  canopies  with  long  streamers  depend- 
ent from  the  six  angles.  Outside  are  four  medallions  of  pure  white,  inclosed 
by  gold  band  and  containing  a group  of  table  articles,  of  which  the  chief  is 
a vase  containing  a branch  of  plum  or  other  blossom,  with  a small  delicately 
ornamented  jar  covered  with  canopy  and  streamers  depending  from  the 
branch;  the  remaining  articles  being  dishes  of  fruit,  a water-holder,  incense- 
burner,  etc.,  delicately  painted.  Between  the  medallions  a small  conven- 


CERAMIC  ART  IN  CHINA. 


399 


tional  lotus  flower  below,  and  a larger  flower  of  same  above,  with  scroll-like 
foliage  on  a deep  magenta  ground,  which  is  covered  outside  the  flowers  and 
leaves  with  delicate  foliate  ornamentation  engraved  in  the  paste.  Earliest 
specimens  of  the  so-called  “medallion  bowls”  which  a few  years  ago  brought 
such  high  prices  in  England.  Mark  as  on  No.  186.  Height,  inches; 
diameter,  5f-  inches. 

242.  Dish  of  white  porcelain,  of  low,  slightly  ovate  shape,  formed  by  a lotus  leaf 

( Nelumbium  speciosum ) curling  up  at  edges,  veining  incised  on  inside  and  in 
relief  on  outside;  a flower  and  seed-pod  ascend  on  outside  from  beneath  leaf 
to  rest  on  its  edge,  while  a lizard  crawls  from  inside  having  its  body  on  the 
leaf-edge  and  head  raised  aloft.  Covered  throughout  with  fine  “peacock” 
green  glaze,  uncrackled.  No  mark.  Diameter,  8J  and  9|  inches. 

243.  Snuff-bottle  of  pure  white  Chienlung  porcelain,  of  flattened  ovate  shape  termi- 

nating in  long,  slender  neck.  On  one  side  is  Yang  Kuei-fei,  and  on  the 
other  Hsi  Shih  clad  in  rich  embroidered  robes  playing  on  the  guitar,  painted 
with  great  delicacy  above  brilliant  glaze.  No  mark. 

Yang  Kuei-fei,  the  daughter  of  an  obscure  official  in  the  modern  Szee- 
huen,  was  introduced  by  the  designing  minister  Li  Liu-fu  into  the 
seraglio  of  the  Emperor  Ming  Huang,  of  the  T‘ang  dynasty  (died 
A.  JJ.  762).  Becoming  enamored  of  her  beauty,  the  Emperor  aban- 
doned the  wise  counsels  of  Chang  Yuch,  Chang  Chin-ling,  and  other 
ministers,  under  whose  administration  the  empire  enjoyed  great 
prosperity,  and  sank,  year  by  year,  more  deeply  in  the  toils  of  amo- 
rous dalliance.  The  Princess  Yang’s  three  sisters  were  also  intro- 
duced into  the  seraglio  and  endowed  with  valuable  fiefs.  No  outlay 
was  spared  in  gratifying  the  caprices  and  covetousness  of  this  family 
of  favorites,  and  the  nation  was  sacrificed  to  the  licentious  enjoy- 
ment of  the  court,  till  at  last  the  people  rose  in  revolt,  the  aged 
monarch  was  forced  to  take  refuge  in  western  China,  and,  after 
undergoing  the  misery  of  witnessing  the  butchery  of  his  favorites,- 
to  abdicate  in  favor  of  his  son. 

Hsi  Shih,  the  daughter  of  humble  parents,  but  the  ne  plus  ultra  of  love- 
liness in  Chinese  tradition.  A report  of  her  consummate  beauty 
having  reached  the  ears  of  her  sovereign,  Kou  Chien,  Prince  of 
Yuch,  a state  occupying  the  east  coast  of  China  below  the  Yangtse 
in  the  fifth  century  B.  C.,  he  had  the  girl  trained  in  all  the  accom- 
plishments of  her  sex  and  sent  her  as  a present  to  his  victorious 
rival,  the  Prince  of  Wu,  in  the  hope  that  her  charms  might  prove 
his  ruin.  The  stratagem  was  successful  and  Fu  Ch’a,  Prince  of  Wu, 
abandoning  himself  to  lustful  dalliance,  was  ere  long  defeated 
and  crushed.  It  is  said  of  Hsi  Shih  that  finding  her  beauty  was 
enhanced  by  an  air  of  melancholy,  she  was  accustomed  to  knit  her 
brows  as  though  in  pain,  and  this  device,  adding  as  it  did  to  her 
attractiveness,  was  copied  by  rival  beauties,  who  vainly  sought  to 
equal  her  charms.1 

244.  Vase,  white  Chienlung  porcelain,  bulging  from  foot  to  two-thirds  height,  then 

contracting  to  short  everted  neck.  Ornamented  with  long  trailing  stalks  of 
conventional  lotus  flowers  and  leaves  moulded  in  relief  on  paste;  confined 
below  by  foliate  panel  ornamentation,  also  in  relief,  with  shading  engraved 
in  the  paste,  and  above,  by  a band  of  same,  having  above  it  a band  of  geo- 
metrical pattern  and  round  the  neck  a foliate  band,  both  engraved  in  the 
paste  and  covered  by  a celadon  glaze  so  faint  as  to  be  almost  white.  No 
mark.  Height,  12f  inches. 


TTrrv 


Unn 


Mayers,  Chinese  Reader’s  Manual,  No.  571. 


400  REPORT  OF  NATIONAL  MUSEUM,  1900. 

245.  Vase  of  white  Chienlung  porcelain,  pear-shaped  like  No.  238,  but  more  slender, 

having  nine  imperial  five-clawed  dragons  (see  No.  4)  surrounded  by  flecks 
of  flame  soaring  in  mid-air  and  rising  from  waves  which  are  incised  in  the 
paste  around  foot,  all  finely  moulded  in  relief,  with  crisp  outline  on  the 
paste  and  covered  with  a deep  peacock-green  glaze  coarsely  crackled.  A 
beautiful  specimen  of  this  rare  ware.  No  mark.  [M.  du  Sartel  gives  a 
drawing  in  his  work  of  a similar  vase,  which  he  (erroneously)  refers  to  what 
he  terms  la  premiere  cpoque — that  is,  the  early  portion  of  “the  Ming  dynasty, 
fifteenth  century.]  Height,  14  inches.  (See  Plate  16.) 

246.  Pencil-holder  of  pure  white  Chienlung  porcelain,  of  cylindrical  shape  with  much 

everted  mouth  and  corresponding  foot,  and  bound  in  middle  by  a raised 
band  ornamented  with  flowers  and  leaves;  from  either  side  of  this  band 
springs  a circlet  of  veined  banana  leaves,  all  incised  in  the  paste  under  a 
brilliant  transparent  glaze.  A Chingte-chen  copy  of  a similar  article  of  the 
Tingchow  ware  of  the  Sung  dynasty,  an  ancient  bronze  vessel  having  served 
as  the  original  model.  No  mark.  Height,  2f  inches;  diameter  at  mouth, 
3|  inches. 

247.  Bowl  of  white  Chienlung  porcelain  with  everted  brim.  Decorated,  outside,  with 

grasses,  yellow  lotus  flowers,  blue  and  red  pinks,  peonies,  and  leaves  of  vari- 
ous shades  of  green  veil  painted  on  somewhat  dull  vermilion  ground;  with 
flowers  on  white  ground  at  bottom  inside.  Mark  as  on  No.  186.  Height,  2f 
inches;  diameter,  5\  inches. 

248-251.  Rice  bowls  of  white  Chienlung  porcelain,  with  everted  brim.  On  outside, 
bands  at  rim  and  above  foot,  of  foliated  scroll  work  in  white  shaded  with 
vermilion  on  a ground  of  same  color,  confine  a plain  white  space  on  which 
is  written  in  vermilion  characters  a long  poem  composed  by  Emperor  Chien- 
lung and  bearing  his  seal  and  date  of  “the  spring  of  Ping-yen,”  that  is,  1746. 
On  inside  on  plain  white  ground,  at  bottom  branches  of  pine,  plum  blossom 
(emblems  of  longevity,  see  No.  181)  and  the  “Buddha’s  hand”  citron  ( Citrus 
sarcodactylus)  in  vermilion;  on  side  two  bands  of  scrollwork  similar  to  those 
on  outside.  Mark  as  on  No.  186.  Height,  2|  inches,  diameter,  4^  inches. 

252.  Wine  cup  of  thin,  pure  white  Chienlung  porcelain,  with  wide,  open  mouth. 

Inside  plain,  covered  with  brilliant  transparent  glaze.  On  outside,  between 
two  narrow  bands  of  Grecian  pattern  at  rim  and  above  foot  is  a very  close 
and  delicate  ornamentation  of  lotus  flowers  and  leaves,  engraved,  as  is  the 
Grecian  pattern,  in  the  paste,  which  is  unglazed.  On  this,  as  ground,  appear 
two  imperial  five-clawed  dragons  moulded  in  relief  and  beautifully  drawn 
and  shaded  in  vermilion  under  brilliant  glaze.  Mark  as  on  No.  186.  A very 
curious  and  beautiful  specimen.  Height,  2 inches;  diameter,  4|  inches. 

253.  Plate  of  white  Chienlung  porcelain,  decorated  inside  with  red  peony  ( Pseonia 

moutan),  white  yulan  ( Magnolia  conspicua)  and  buds  on  a deep  blue  ground 
ornamented  with  a foliate  decoration  engraved  in  the  paste.  On  outside 
under  brim  five  bats,  symbolical  of  the  five  kinds  of  happiness,  in  vermil- 
ion. Mark  as  on  No.  186.  Diameter,  8 inches. 

254,255.  Plates  of  white  Chienlung  porcelain,  similar  to  above.  Decoration  on  inside 
consists,  however,  of  sprays  of  red  rose,  asters,  and  pomegranate  on  a green 
ground  similarly  ornamented  with  foliate  decoration  engraved  in  paste. 
Mark  and  size  the  same  at  last. 

256.  Plate  of  white  Chienlung  porcelain.  On  light  whitish  carmine  ground  orna- 
mented with  conventional  lotus  flowers  and  leaves  in  deep  carmine,  on  which 
are  five  foliated  panels  containing  landscape  scenes  in  enamel  colors,  in  fore- 
ground of  each  of  which  is  a European  clad  in  the  dress  of  the  Louis  the 
Fourteenth  period,  bearing  a sword,  a branch  of  coral,  a ju-i  (see  No.  81),  a 
crutch,  and  the  model  of  a European  house  on  a salver.  Outside  decoration 
and  mark  same  as  on  No.  253. 


■Report  of  U.  S.  National  Museum,  1 900.— Hippisley, 


Plate  1 6, 


Vase  of  White  Chienlung  Porcelain  (No.  245). 


For  explanation  of  plate  see  page  400. 


CERAMIC  ART  IN  CHINA. 


401 


257.  Plate  of  white  Chienlung  porcelain.  On  a vermilion  ground  ornamented  with 

conventional  lotus  flowers  and  leaves  in  gold  are  five  foliated  panels  con- 
taining landscapes  painted  in  enamel  colors.  Outside  decoration  and  mark 
same  as  on  No.  253. 

258.  Plate  .of  white  Chienlung  porcelain.  On  pale  yellow-brown  mottled  ground 

resembling  agate  are  five  foliated  panels  containing  landscapes  in  enamel 
colors,  in  foreground  of  each  of  which  is  a child  carrying  a halberd,  a lotus 
flower,  a,ju-i,  a Buddhistic  sacred  relic  (she-li)  on  a salver,  and  one  pursuing 
a butterfly.  Outside  decoration  and  mark  same  as  on  No.  253. 

259.  Plate  of  white  Chienlung  porcelain.  On  a light  green  ground  covered  with  deli- 

cate cloud-like  ornaments  in  black  are  sprays  of  lotus,  roses,  peonies  ( Pseonia 
moutan ),  plum  blossoms,  and  chrysanthemums  in  natural  colors.  Outside 
decoration  and  mark  as  on  No.  253. 

260.  Bowl  (small)  of  white  Chienlung  porcelain.  Plain  inside.  Outside,  on  a pale, 

rich,  celadon  ground  are  flowers  painted  in  vermilion,  with  leaves  of  enamel 
green.  Mark  as  on  No.  186.  Height,  If  inches;  diameter,  3f  inches. 

261.  Vase  (small)  of  white  Chienlung  porcelain,  of  slender  jar  shape.  Covered  with  a 

broad,  double  band  of  modified  Grecian  pattern  in  relief  on  basket-work 
ground  engraved  in  the  paste,  confined  above  and  below  by  bands  of  foliate 
design  in  relief  with  incised  shading.  Round  the  neck  circle  of  banana 
leaves  in  relief  with  incised  shading,  all  under  transparent  glaze  having  a 
celadon  tinge.  Mark  as  on  No.  186.  Height,  7 inches. 

262.  263.  Plates  (a  pair)  of  white  Chienlung  porcelain,  circular  with  upright  edges, 

small.  In  center  is  a gourd  and  two  sprays  of  flowers  tied  with  flowing 
ribbons  held  by  a bat  with  outstretched  wings  amid  clouds,  very  delicately 
moulded  in  relief  and.  covered  throughout  with  a pale  celadon  glaze.  Mark 
as  on  No.  186.  Height,  1 inch. 

264.  Vase  of  pure  white  Chienlung  porcelain,  curving  inward  slightly  above  foot, 

then  bulging  gradually  to  two-thirds  height,  when  it  contracts  gradually  to 
near  mouth,  which  is  slightly  everted.  At  foot,  a narrow  band  of  conventional 
lotus  flowers  and  leaves.  Above,  confined  by  band  of  foliated  design  engraved 
in  the  paste  are  four  conventional  lotus  flowers  with  scroll-like  leaves  and 
flying  bats  so  arranged  that  five  bats  ( wu  fu,  or  five  kinds  of  happiness)  appear  . j^j 

round  each  flower.  At  base  of  neck  is  a narrow  band  studded  with  small 
dots  (gems)  in  relief.  Above,  round  the  neck,  a broad  band  of  ornamentation 
similar  to  that  on  body,  confined  at  top  by  band  of  foliated  scroll  work.  The 
ornamentation  throughout  is  moulded,  boldly  but  with  great  delicacy,  in 
relief  upon  the  paste,  and  is  covered  with  a brilliant  deep  celadon  glaze 
approaching  white  in  the  highest  portions  of  the  relief.  Mark  as  on  No.  186, 
but  in  shape  of  a seal  and  in  high  relief.  A unique  and  very  beautiful  speci- 
men. Height,  114  inches.  (See  Plate  17.) 

265.  Vase  of  pure  white  Chienlung  porcelain,  of  flattened  bulbous  shape  with  long 

slender  neck  which  represents  half  of  total  height.  Upon  the  body  of  the 
vase  is  a mang,  the  tail  of  which  curls  upward  round  the  neck  (see  No.  9),  very 
boldly  moulded  in  relief  with  head  erect  and  long  beard  depending  from  chin, 
covered  throughout  with  a brilliant  celadon  glaze,  the  mang  being  spotted 
with  marks  of  red  and  brown  mixed,  shading  off  into  the  glaze,  and  on  the 
body  of  the  vase  are  curious  cloud-like  splotches  of  deepest  olive  green  shad- 
ing off  at  the  edges.  Mark  as  on  No.  186.  Height,  12f  inches. 

266.  Vase  of  white  Chienlung  porcelain  pf  slender  bulbous  shape  with  neck  ending  in 

trumpet-shaped  mouth,  entirely  covered  outside  with  a uniform  glaze  in 
color  between  vermilion  and  deep  carmine.  Rim  of  mouth  and  inside  plain. 

Mark  as  on  No.  186.  Height,  Ilf  inches. 


402 


REPORT  OF  NATIONAL  MUSEUM,  1900. 


267.  Pencil-washer  of  white  Chienlung  porcelain,  in  shape  resembling  an  S scroll 
with  tall  perpendicular  sides.  Inside  biscuit  unglazed.  Outside  covered  with 
a uniform  deep  green  (called  by  Chinese  “ cucumber  green”)  closely  crackled 
( truite ).  No  mark.  Height,  1^  inches;  length,  3 £ inches. 

268, 269.  Vases  (a  pair)  of  white  Chienlung  porcelain,  a pomegranate  fruit  in 
shape — of  the  kind  termed  flambe.  The  mixed  blue  and  white  colors  which 
cover  the  mouth  and  inside,  flow  down  and  become  specially  prominent  in 
the  hollows  at  junction  of  the  sections,  the  latter  being  a brilliant  purple  red, 
and  the  conflicting  tints  gradually  merging  into  one  another  at  the  edges  of 
contact;  all  covered  with  a brilliant  thick  vitreous  glaze. 

270.  Vase  of  white  Chienlung  porcelain  shaped  as  a gourd  contracted  in  the  middle. 

Covered  wTith  deep  red  having  a somewhat  mottled  appearance  on  lower 
globular  portion,  under  a brilliant,  thick  vitreous  glaze,  the  edge  of  the 
mouth  inside  and  out  being  white,  though  the  color  appears  inside  farther 
down.  No  mark.  Height,  8f  inches. 

271.  Vase  of  white  Chienlung  porcelain,  of  ancient  bronze  design,  in  form  of  two 

diamond-shaped  vases  of  which  one-fourth  of  the  length  has  been  cut  off 
and  the  sections  united ; at  either  end  an  elephant’s  head  with  trunk  forms  a 
handle  just  below  neck,  which  is  of  same  shape  as  that  of  the  body  of  vase. 
Covered  with  splotches,  which  have  run  into  one  another,  of  several  dull 
colors,  black,  bottle  green,  and  deep  lake,  giving  the  appearance  of  mottled 
agate,  under  a thick  glaze.  The  porcelain  is  coarsely  crackled  like  ice.  No 
mark.  Height,  inches. 

272.  Vase  of  white  Chienlung  porcelain,  of  small  lancelle  shape,  bearing  chrysanthe- 

mum flowers  and  leaves  engraved  in  paste,  over  which  under  a rich  vitreous 
glaze  is  a wavy  pattern  in  yellows  and  browns  resembling  agate.  No  mark. 
Height,  6J  inches. 

273.  Vase  of  white  Chienlung  porcelain,  bulging  from  above  foot,  then  contracting 

concavely  to  form  slender  neck  much  everted  at  mouth.  Decoration  consists 
of  bamboos  and  chrysanthemums  outlined  and  shaded  in  black  on  deep  blue 
ground,  covered  with  thin  but  brilliant  glaze.  Edge  of  mouth  black,  inside 
plain  white.  No  mark.  Height,  Ilf  inches. 

274, 275.  Plates  (a  pair)  of  white  Chienlung  porcelain  coarsely  crackled.  Orna- 
mented with  circular  splotches  arranged  in  pattern  around  a large  central  one, 
in  which  white,  red,  and  blue  colors  appear,  giving  each  splotch  the  appear- 
ance of  a crushed  purplish  red  fruit.  Covered  with  a thick  vitreous  glaze, 
which  has  collected  between  the  splotches  and  thus  formed  a sort  of  frame- 
work of  bottle-green  hue.  Outside  similar  splotches  are  arranged  regularly 
around  brim.  A curious  variety  of  flambe  style.  No  mark.  Diameter,  9f 
inches. 

The  use  of  spiked  metal  supports  to  keep  vessels  of  porcelain  in  position 
within  the  kiln  has  been  generally  considered  peculiar,  in  the  East, 
to  the  Japanese  system  of  manufacture.  The  marks  of  a seven- 
spiked  stand  on  the  feet  of  these  plates  show,  however,  that  metal 
supports  within  the  seggars  have  also,  at  least  occasionally,  been 
employed  by  the  Chinese. 

276.  Vase  of  white  Chienlung  porcelain,  of  slender  bulbous  shape  with  long  taper- 
ing neck,  of  th q flambe  variety.  From  its  appearance  one  would  judge  the 
decoration  to  consist  of  a deep  red' ground  on  which  has  been  blown  ( souffle } 
a blue  and  white  composition,  which  had  formed  a multitude  of  closely 
packed  blue  and  white  circles,  of  irregular  edge  owing  to  their  having  ran 
iii  the  baking,  under  a thick,  brilliant  vitreous ' glaze.  At  mouth  the  color 
has  disappeared,  discovering  the  white  porcelain  under  a crackled  glaze. 
Lower  down  inside  the  color  reappears.  No  mark.  A very  fine  specimen. 
Height,  16  inches. 


Report  of  U.  S.  National  Museum,  1900. — Hippisley. 


Plate  17, 


Vases  of  White  Chienlung  Porcelain  (Nos.  264  and  204). 

For  explanation  of  plate  see  pages  401,  395. 


CERAMIC  ART  IN  CHINA. 


403 


277.  Vase  of  pure  white  Chienlung  porcelain,  of  bulbous  shape,  long  neck  ending 

with  a small  globe.  Inside  without  color.  Outside  is  entirely  covered  with 
a deep  sang-de-boeuf  red,  with  streaks  like  fleecy  clouds  of  blue  discover- 
ing white,  the  edges  of  which  shade  into  black  or  very  deep  purple  where 
the  colors  mingle,  under  a thick  vitreous  transparent  glaze,  crackled  about 
mouth.  No  mark.  An  exceptionally  fine  specimen.  Height,  13f  inches. 

278 . Fishbowl  (small)  of  white  Chienlung  porcelain,  globular,  colored  sang-de-boeuf 

under  a deep  vitreous  glaze.  Rim  white;  then,  on  inside,  red  close  to  rim, 
and  lower  down  where  glaze  has  run  in  baking,  streaked — of  good  color.  No 
mark.  Height,  3 inches. 

279.  Vase  of  white  Chienlung  porcelain.  Globular  in  shape,  upper  part  of  globe  being 

cut  at  an  angle  of  45°  to  long  neck  which  everts  at  mouth.  On  either  side  of 
neck  is  a handle  formed  by  an  elephant’s  head  with  inward  curved  trunk 
moulded  in  relief  on  the  paste.  Covered  with  fiambe  colors,  red,  blue,  and 
white,  which  both  inside  and  out  merge  into  one  another,  each  predominat- 
ing in  turn,  under  a thick  vitreous  glaze  pitted  like  orange-peel.  Mouth 
rim  remains  white.  No  mark.  Height,  14^  inches. 

280.  Vase  of  white  Chienlung  porcelain,  in  shape  of  an  inverted  bulb,  with  small 

low  neck  covered  with  blue,  red,  and  white  fiambe.  Predominating  color  is 
red,  but  mottled  with  purple  tints  with  blue  and  white  appearing  in  places, 
under  deep  vitreous  glaze  pitted  like  orange-peel.  No  mark.  Height,  8 
inches. 

281-284.  Screen  panels  of  white  Chienlung  porcelain.  Two  central  panels,  each  23f 
inches  high  by  9J  inches  broad,  are  flanked  on  either  side  by  a panel  of  same 
height  and  5-g-  inches  broad.  On  these  is  depicted,  beautifully  painted,  Lao 
Tze,  with  lofty  forehead  and  flowing  white  beard,  in  the  mountain  home  of 
theHmmortals,  receiving  two  children  riding  the  stag  of  longevity,  with  other 
children  playihg  around,  and  genii  coming  to  pay  homage  to  the  great 
sage,  some  on  foot  descending  the  mountains?  some  approaching  on  clouds, 
with  Hsi  Wang  Mu  herself  preceded  by  her  attendant  birds  (see  No.  28). 
Around  are  twelve  panels  3|  inches  wide  and  in  length  some  9J  inches  and 
some  Ilf  inches,  covered  with  formal  lotus  flowers  and  conventional  scroll- 
like foliage,  all  in  natural  colors.  A very  beautiful  piece  of  furniture,  the 
frame  being  carved  black  wood. 

285.  Fish  bowl  of  thick  white  Chienlung  porcelain,  bulging  gently  from  base  to  wide 

open  mouth.  Among  thick  fleecy  clouds  of  souffle  blue-black  is  a very  boldly 
drawn,  flying,  princely  four-clawed  dragon  with  row  of  large  spines  running 
along  back,  body  of  slightly  yellow  tinge,  the  scales  beneath  belly,  horns,  and 
nose  white.  No  mark.  Height,  8J  inches;  diameter,  10f  inches. 

286.  Plate  of  enamel  upon  copper  base;  decorated  with,  a painting  of  Wang  Chih 

watching  two  genii  engaged  in  game  of  chess  (see  No.  18)  under  tree  in  valley 
between  rising  hills;  confined  above  and  below  by  band  of  foliated  scroll  pat- 
tern in  black,  picked  out  with  gold  on  a light-blue  ground;  outside  around 
rim  a foliated  scroll  pattern  in  blue  on  white  ground.  Mark,  a feng  hwang 
(see  No.  4).  Diameter,  8f  inches. 

287.  Plate  of  enamel  upon  copper  base;  decorated  with  a painting  of  the  famous  poet 

Li  T‘ai-po,  and  companion  in  open  country  among  rocks  and  trees  engaged 
in  the  enjoyment  of  wine,  of  which,  to  judge  by  the  size  of  the  blue  jar  in 
background,  they  have  a plentiful  supply;  outside  decoration  and  mark  same 
as  on  last.  Both  admirably  painted.  Diameter,  8|  inches. 

Li  T‘ai-po  (A.  D.  699  to  762)  is  the  most  famous  among  the  poets  of  China, 
and  scarcely  less  noted  for  his  love  of  wine.  The  curiosity  of  the 
Emperor  Hsiian  Tsung  of  the  Sung  dynasty  having  been  aroused 
by  the  accounts  made  to  him  of  the  poet’s  genius,  Li  T‘ai-po  was 


404 


REPOET  OF  NATIONAL  MUSEUM;  1900. 


summoned  to  an  interview  in  the  palace,  where  he  was  received  with 
exaggerated  honors.  The  Emperor  himself  handed  the  dishes,  his 
favorite  and  haughty  concubine  was  required  to  rub  the  ink  for  his 
use,  and  the  chief  eunuch  and  privy  counsellor,  Kao  Li-Sze,  had  to 
divest  him  of  his  boots  when  overcome  by  wine.  The  Emperor’s 
favorite,  smarting  under  the  indignity  to  which  she  thought  herself 
subjected  in  his  honor,  barred  the  door  to  his  official  employment, 
and  Li  T‘ai-po  led  “for  the  remainder  of  his  life  a wandering  exis- 
tence, celebrating  in  continual  flights  of  verse  the  praises  of  baccha- 
nalian enjoyment  and  of  the  beauties  of  nature  in  the  various 
localities  he  visited.”  , (Mayers.) 

288.  Teapot  and  cover  of  earthenware  from  the  Ni-hsing  district  in  Kiangsu  province. 

Of  globular  shape,  much  flattened.  Round  the  lower  portion  are  pine  and 
plum  trees  very  delicately  moulded  in  bold  crisp  relief;  above,  separated  by 
a band  of  Grecian  pattern  incised  in  the  paste,  a single  row  of  “old  seal” 
characters  in  relief,  from  which  it  appears  that  the  teapot  was  made  at  the 
special  order  of  the  Emperor  Chienlung.  On  the  cover  is  a scroll  pattern, 
in  relief,  confined  on  either  side  by  a band  of  Grecian  pattern,  and  round 
the  knob  in  the  center  is  another  band  of  same.  A very  beautiful  specimen 
of  this  ware.  Height,  2\  inches;  diameter,  4J  inches. 

SPECIAL  GROUP  OF  EGG-SHELL  PORCELAIN. 

289-294.  Wine  cups  (6)  of  pure  white  Yunglo  (1403  to  1424)  porcelain  of  the  variety 
termed  t‘o-tlai , ‘ ‘ bodiless, ” or  “ egg-shell, ’ ’ with  broad,  open  mouth.  Round 
the  sides  is  a delicate  ornamentation  of  flowers  and  leaves  faintly  engraved 
in  paste  under  a white  enamel.  On  foot  the  mark,  Yung-lo-nien-chih , in  seal 
character — “Made  during  the  Yunglo  period” — engraved  in  the  paste. 
Unique  specimens  at  the  present  time.  (See  page  335. ) Height,  If  inches; 
diameter,  3f  inches. 

295.  Bowl  of  pure  white  Yunglo  porcelain,  called  t(o-t‘at,  or  “egg-shell,”  or,  perhaps, 
p‘antlo-tlai,  “semi-bodiless,”  though  a bowl  of  this  size  would  have  little 
practical  utility  were  it  of  less  substance.  Covered  with  white  enamel  over 
imperial  five-clawed  dragons  (see  No.  4)  among  clouds  faintly  engraved  in 
the  paste.  Mark  same  as  on  last.  The  ornamentation  on  this  and  the  six 
last  specimens  becomes  more  distinct  when  the  articles  are  filled  with  liquid. 
Height,  2f  inches;  diameter,  8 inches. 

296-299.  Plates  (4)  small,  flat,  of  the  very  thin  white  Ch‘^nghua  (1465  to  1487)  porce- 
lain, termed  VoPai,  or  bodiless.  Decorated  with  landscapes  representing 
pavilions  with  beetling  rocks  behind  on  the  bank  of  a lake  or  river,  crossed 
by  row-boats  having  mat  awnings,  and  a lofty-peaked  mountain  in  the  dim 
haze  of  distance,  painted  in  brilliant  enamel  colors  above  glaze.  On  brim, 
outside,  are — three  on  each  plate — sprays  of  roses,  pinks,  chrysanthemums, 
iris,  lotus,  and  coleus,  also  in  brilliant  enamel  glaze.  On  foot,  faintly  en- 
graved in  paste,  mark  Ch‘£ng-hua  nien-chih  “Made  during  the  Cfdenghua 
period.”  Very  rare  specimens.  Diameter,  4^  inches. 

300-303.  Wine  cups  (4),  of  the  very  thin,  pure  white  Ch‘enghua  porcelain,  termed 
tlo-t‘ai,  “bodiless,”  or  egg-shell.  Small,  tall,  and  slender,  with  everted  rim. 
On  each  is  a miniature  group  of  the  Seven  Worthies  of  the  Bamboo  grove 
(See  No.  53)  with  an  attendant  bringing  a jar  of  wine  and  flowers.  The  por- 
celain is  so  thin  that  the  design,  with  all  the  details  of  color,  can  be  distinctly 
perceived  from  the  inside.  Mark  in  blue  characters  under  glaze  Ta-ming- 
chleng-hua-nien-chili,  “Made  during  the  Ch‘enghua  period  of  the  great  Ming 
dynasty.”  Admirable  specimens  of  the  highly  prized  wine  cups  of  this 
period,  which  even  in  the  sixteenth  century  brought  extraoi dinary  prices. 
(See  page  337.)  Height,  1-g-  inches;  diameter,  2 inches. 


CERAMIC  ART  IN  CHINA. 


405 


304-313.  Wine  cups  (10)  of  the  thin,  pure,  white  K‘anghsi  (1662  to  1722)  porcelain, 
termed  t‘o-t‘ai  “bodiless,”  with  wide,  open,  everted  mouth.  Each  is  deco- 
rated with  a single  spray  either  of  roses,  red  plum  blossom,  pomegranate, 
peach,  peony  ( Pgeonia moutan) , chrysanthemums,  or  of  yuan  yang  (see No.  101) 
swimming  among  lotus  flowers  painted  in  enamel  colors,  the  branches  being 
outlined  in  blue  under  glaze.  On  each  is  a short  poem  extolling  the  beauty 
of  the  flower  it  accompanies.  Mark  on  foot  Ta-cVing-P  ang-hsi-nien-chih, 
“Made  in  the  K’anghsi  period  of  the  Great  Pure  dynasty.”  Delicate  speci- 
mens. Height,  If  inches;  diameter,  2\  inches. 

314.  Water  holder,  for  us©  on  student’s  table  when  preparing  ink,  of  the  pure  white 
Yungcheng  porcelain,  termed  Vo-tlai,  “bodiless.”  In  the  form  of  a lotus 
leaf  with  crinkled  edge,  of  which  one-half  (that  forming  the  receptacle  for 
water)  turns  up  at  edges,  forming  a small  basin,  which  is  half  covered  by  the 
remainder  of  the  leaf,  arching  over  from  the  stalk.  In  the  recess  of  the  bent 
leaf  are  a pink,  a beetle,  and  a fly,  of  tiny  dimensions,  painted  with  extreme 
delicacy  and  care.  The  top  of  the  stalk  and  veining  of  the  leaf  are  incised 
in  the  paste,  and,  owing  to  the  thinness  of  the  latter,  appear  in  relief  under- 
neath. A most  beautiful  specimen.  Height,  1 inch;  length,  3f  inches. 

315-318.  Wine  cups  (4)  of  thin,  white  Yungcheng  (1723  to  1735.)  tlo-tlai  or  “ bodiless  ” 
porcelain,  of  slender  shape,  with  everted  brim.  Decorated  with  ideal  land- 
scapes exquisitely  drawn  and  shaded  in  sepia  under  glaze.  Mark,  Ta-cVing- 
yung-cMng-nien-chih , “Made  in  the  Yungcheng  period  of  the  Great  Pure 
dynasty.”  Height,  If  inches;  diameter,  24  inches. 

319,320.  Plates  (a  pair)  of  thin,  white  Chienlung  (1736  to  1795)  tcOrt‘ai  or  “bodiless” 
porcelain.  Covered  over  with  white  enamel,  in  middle  of  plate  two  ju-i 
crossed  (see  No.  81),  with  the  figure  of  the  two  Primordial  Essences  (see  No. 
40)  in  the  center,  and  around  the  rim  the  eight  Buddhistic  emblems  (see 
No.  54),  all  faintly  engraved  in  the  paste.  No  mark.  Exceptionally  fine 
specimens.  Diameter,  7-g-  inches. 

321,322.  Pice-bowls  (a  pair)  of  white  Chienlung  t‘o-t‘ai  or  “bodiless”  porcelain.  Cov- 
ered with  white  enamel  over  scroll-like  sprays  of  conventional  lotus  flowers 
( hsi-fancj-lien-hua  or  lotus  of  the  west)  and  leaves  engraved  in  the  paste  inside 
and  out,  but  in  such  manner  that  the  two  patterns  do  not  coincide  in  their 
outlines,  and  that,  if  bowl  be  regarded  from  inside  or  from  outside,  the  pat- 
tern on  the  side  looked  at  is  alone  visible.  Mark  Ta-chling-cliien-lung-nien- 
chih,  “Made  in  the  Chienlung  period  of  the  first  Great  Pure  dynasty,” 
engraved  in  the  paste  under  foot.  Height,  2f  inches;  diameter,  5|  inches. 


SPECIAL  GROUP  OF  VITREOUS  WARE  AND  OF  PORCELAIN  MADE,  WITH  IT  AS  MODEL,  TO 
SECURE  A LIKE  TRANSPARENCY  OF  COLOR  WITH  INCREASED  BRILLIANCY  OF  GROUND. 

323.  Snuff-bottle  (small)  of  dull,  opaque,  white  vitreous  ware,  of  flat  elongated  potiche 

shape,  decorated  with  red  lotus  flowers  and  green  leaves.  Mark  Ta-chHngr 
nien-chih,  “Made  during  the  Great  Pure  dynasty,”  the  distinctive  mark  of  the 
earlier  productions  of,  Ku  Yiieh-hsuan.  (See  page  347.)  This  ware  is  so 
highly  esteemed  by  the  Chinese  that  it  sells  for  higher  prices  than  would 
similar  articles  of  jade.  Height,  2f-  inches. 

324.  Water-holder  (small)  of  dull,  opaque,  white  Ku  Yueh-hsiian  vitreous  ware  of 

cylindrical  shape.  Decorated  with  a landscape  very  beautifully  painted  in 
natural  colors,  representing  a young  shepherd  clad  in  Chinese  dress,  but 
• whose  features  are  unmistakably  European,  tending  a ram  and  two  ewes  on 
a grassy  sward  confined  by  lofty  rocks,  among  which  grow  herbs  and  flower- 
ing trees.  The  painting  is  characterized  by  all  the  delicacy  of  touch  of  a 
miniature.  Mark  in  form  of  a seal  engraved  in  foot  and  filled  with  blue 
enamel,  Chien-lung-nien-chih,  “Made  in  the  Chienlung (1736 to  1795)  period.” 


406 


EEPORT  OF  NATIONAL  MUSEUM,  1900. 


This  and  the  next  twelve  specimens,  namely,  down  to  No.  336,  inclusive, 
were  made  under  the  supervision  of  TSvang  ying  (see  page  33).  Height,  1|- 
inches;  diameter,  If  inches. 

325.  Pencil-holder  of  same  ware,  of  cylindrical  shape.  Decorated  with  a group  of 

the  Seven  Worthies  of  the  Bamboo  Grove  (see  No.  53)  conversing  together  or 
examining  a scroll  bearing  a landscape  with  pine  trees,  on  a green  sward 
edged  with  beetling  rocks  and  flowering  trees.  An  exquisitely  drawn  pictur^. 
Mark  as  on  last.  Height,  2f  inches;  diameter,  2f  inches.  (See  Plate  20.) 

326.  Wine-cup  (small)  of  same  ware.  Around  the  foot  is  a band  of  delicate  red  scroll- 

work on  a yellow  ground,  with  a very  narrow  band  above  of  white  foliate 
pattern  on  black  ground.  This  and  a broader  foliate  pattern  at  rim  of  the 
dull  white  color  of  the  .glass  carefully  shaded  with  straw-yellow  upon  a very 
pale  green  ground,  confine  the  body  of  the  cup,  on  which  a yellow  scroll- 
work forms  two  landscape  panels.  The  intermediate  spaces,  slightly  smaller 
than  the  panels  themselves,  are  completely  filled  with  peonies,  chrysanthe- 
mums, convolvulus,  lilies,  asters,  and  many  other  flowers.  A more  artistic 
or  delicately  beautiful  ornamentation  than  this  and  that  of  the  following  cup 
it  would  be  difficult  to  find.  Mark  as  on  No.  324.  Height,  If  inches;  diame- 
ter, 2£  inches.  (See  Plate  20. ) 

327.  Wine-cup  (small)  of  same  ware.  Around  the  foot  is  a band  of  same  pattern  as  in. 

last  with  an  arabesque  design  above  in  carmine  on  a pink  ground.  Within 
this  and  a similar  band  around  brim  are  delicate  foliate  patterns  of  the  dull 
white  color  of  the  glass  shaded  with  light  brown  on  a ground  of  the  same 
color,  which  confine  the  body  of  the  cup.  Here  on  a ground  of  the  natural 
color  of  the  ware  is  a fine  damask  in  olive-green  supporting  four  panels  con- 
fined by  yellow  scroll-work — two  square  and  two  oblong.  The  former  con- 
tain valley  landscape  scenes  in  winter  season,  and  the  latter  similar  scenes  in 
summer  season,  very  delicately  painted  in  deep  pink  or  carmine.  Mark  as 
on  No.  324.  Height,  If  inches;  diameter,  2 inches.  (See  Plate  20.) 

328.  329.  Rice-howls  (a  pair)  of  thin,  pure  white  Yungcheng  (1723  to  1735)  porcelain 

covered  with  a very  brilliant,  transparent  vitreous  glaze  to  secure  the  delicate 
transparency  in  the  coloring  remarkable  in  the  Ku  Yiieh-hsuan  ware  (Nos. 
323  to  327),  and  hence  termed,  as  are  Nos.  330  to  336,  by  the  Chinese,  fang- 
hu-yueh-hsuan,  modeled  after  that  ware.  Decorated  with  branching  sprays 
of  plum  blossom  beautifully  drawn  and  shaded  in  sepia  above  the  glaze,  the 
artist’s  idea  being  explained  by  a stanza  to  the  following  effect: 

The  student  sees  the  outline  sharp' 

Of  plum-bloom  by  the  moonlight  cast 
On  window  blind,  and  breathes  the  scent 
Of  unseen  flow’rets  wafted  past. 

Mark  as  on  No.  324.  Height,  2\  inches;  diameter,  4-g-  inches.  (See  Plate  19. ) 

330.  Tea-pot  of  pure  white  Chienlung  porcelain  of  globular  shape  and  covered  with 
brilliant  vitreous  glaze,  upon  which  are  very  beautifully  painted  groups  of 
white  and  of  pink  lotus  flowers,  and  leaves  crinkled  into  many,  but  quite 
natural,  shapes  and  showing  the  dark  uppqr  and  light  lower  sides,  with  buds 
and  seed-pods.  On  cover  are  groups  of  the  same  flowers  and  leaves  arranged 
in  three  clumps  around  the  knob,  which  is  a flattened  globe  bearing  the 
character  shou  (longevity)  in  carmine.  On  tea-pot  is  the  inscription:  ‘ ‘ Pure 
as  the  virtue  of  the  perfect  man,  ’ ’ that  is,  as  jade,  which  from  a passage  in 
the  “ Classic  of  Ceremonial”  is  considered  the  symbol  of  such  virtue,  “ har- 
monious as  the  strength  of  him  who  fulfills  all  his  duties  to  his  fello\v-men.” 
Mark  as  on  No.  324.  Height,  4f  inches.  (See  Plate  18.) 

331,332.  Cups  of  same  porcelain  and  bearing  precisely  the  same  decoration.  No. 

330  came  from  the  collection  of  the  Prince  of  I.  Several  months  later  these 


CERAMIC  ART  IN  CHINA. 


407 


corresponding  cups,  which  doubtless  at  one  time  belonged  to  the  same 
owner,  were  purchased  from  among  unclaimed  goods  in  a Peking  pawnshop. 
Curiously,  however,  the  seal  attached  to  the  inscription  on  the  cups,  though 
evidently  by*  the  same  hand  as  is  that  on  the  tea-pot,  differs  from  the  seal 
on  the  latter.  Height,  If  inches;  diameter,  2\  inches.  (See  Plate  18.) 

333,  334.  Vases  (a  pair)  of  pure  white  Chienlung  porcelain,  of  flattened  globular 
shape,  with  slender  neck  representing  half  total  height,  and  everted  brim, 
covered  with  brilliant  vitreous  glaze,  on  which  the  decoration  is  painted. 
Around  the  foot  is  a band  of  light  blue  ornamented  with  delicate  foliate 
scroll  in  violet.  Above  the  band  runs  another  band  of  panel  ornamentation 
in  carmine  edged  with  dull  green,  which  with  a band  below  neck  of  con- 
ventional dragons,  alternately  green  and  pink,  on  a magenta  ground,  in- 
close the  body  of  the  vase.  This,  on  a deep  blue  ground,  ornamented  with 
conventional  clouds  of  yellow,  green,  blue,  and  red,  and  bats  of  pink  shaded 
with  carmine,  and  of  yellow  shaded  with  orange,  bears  four  medallions  with 
pure  white  ground  of  dazzling  brilliancy,  containing  groups  of  flowers  most 
delicately  painted — peonies  and  bamboos;  lilies,  longevity  fungus,  and  red- 
seeded,  heavenly  bamboo  ( Naudina  domestica),  lilies  and  poppies,  and  yellow" 
hibiscus  and  green  and  rfed  coleus.  At  foot  of  neck  is  a band  of  orange,  the 
neck  itself  being  of  lemon  yellow  ornamented  with  conventional  flow'ers  and 
foliage  in  many  colors,  confined  below  by  a band  of  foliated  pattern  in  blue, 
shaded  with  deeper  tones  of  the  same  color,  and  above  by  a similar  band, 
outlined  with  a dotted  border  of  blue,  in  carmine  and  shaded  with  the  latter 
color,  the  decoration  ending  in  a narrow  border  of  pale  yellow  pattern  out- 
lined with  black.  The  colors  are  subdued  in  tone,  producing  a very  rich  and 
harmonious  effect.  Mark  as  on  No.  324.  Height,  inches.  (See  Plate  21. ) 

335.  Bowl  (small),  with  slightly  everted  brim,  of  thin  white  Chienlung  porcelain  cov- 

ered with  brilliant  vitreous  glaze.  On  a pale  lemon  yellow  ground  are  large 
conventional  peonies,  of  which  the  outer  petals  are  of  magenta  purple  and 
the  inner  petals  of  blue,  having  a magenta  center,  with  buds  of  same  colors, 
and  leaves  of  various  shades  of  green.  Inside  plain.  Mark  as  on  No.  324? 
Height,  2-f  inches;  diameter,  4^  inches. 

336.  Vase  of  pure  white  Chienlung  porcelain  covered  with  brilliant  transparent  vit- 

reous glaze.  Of  very  graceful  shape,  resembling  a much-flattened  bulb  with 
long  tapering  neck  which  represents  three-fifths  of  total  height.  Ornamented 
with  beautifully  drawn  red  roses,  yellow  orchids  (Malaxis  and  Epidendrum ) 
with  leaves  of  deep  green  to  former  and  of  delicate  grass  green  to  latter.  In 
this  case  at  least  the  delicate  transparency  so  admired  on  the  real  vitreous 
ware  has  been  attained.  Appended  is  the  following  inscription,  sealed  with 
the  author’s  nom  deplume;  that  is,  his  favorite  designation:  4 ‘ The  four  sea- 
sons changed  to  an  everlasting  spring,”  “The  perfect  man  of  pure  and. 
world- wide  fame.  ’ ’ 

, As  flow’rs  imprison’d  hold  each  eve 

In  loving  clasp  the  sweet  moon’s  rays, 

So  man,  by  loving  flow’rs,  each  year 
Surely  prolongs  his  length  of  days. 

(See  Plate  19.) 

* * 1 * * * * * 

337.  Vase  (small)  of  white  Chiach’ing  (1796  to  1820)  porcelain,  in  shape  of  a gourd 

contracted  in  the  middle.  On  either  side  is  a medallion  formed  by  the  char- 
acter shou  (longevity)  on  the  lower  swelling,  and  on  the  upper  is  a grotesque 
winged  bat,  with  two  three-clawed  dragons  curling  from  top  and  encircling 
the  lower  ( shou  character)  medallion.  The  dragons  have  foliated  flames 
springing  from  their  sides.  The  decoration,  which  is  well  drawn  and  shaded 
in  deep  blue  under  glaze,  is  completed  by  a band  of  Grecian  pattern  round 


408 


REPORT  OF  NATIONAL  MUSEUM,  1900. 


the  foot  and  by  a band  of  foliated  scroll-work  round  the  rim.  Mark  Ta-ch’ing- 
chia-cff  ing-nien-chih,  “Made  during  the  Chiach’ing  period  of  the  Great  Pure 
dynasty.”  Height,  7 inches. 

338,  339.  Bowls  for  growing  narcissus,  of  white  Chiach’ing  porcelain  of  ovate  shape 
divided  into  four  scallops.  Between  a band  at  rim  and  another  at  foot  of 
foliated  scroll  pattern  is  the  decoration  in  chief,  which,  on  each  curved  panel 
or  scallop,  consists  of  a character  shou  (longevity)  in  seal  form  surmounted 
f by  a bat,  the  decoration  thus  signifying  “long  age  and  every  happiness,” 
and  supported  on  either  side  by  conventional  (or  western)  lotus  flowers  and 
leaves.  The  decoration  is  throughout  in  relief  in  whitish  celadon  on  a 
ground  of  dark  celadon.  Mark  as  on  No.  337.  Height,  2\  inches;  length, 
7f  inches. 

340.  Vase  of  white  Chiach’ing  porcelain,  of  slender  bulbous  shape  with  long  tapering 

neck,  covered  inside  and  out  with  deep  green  glaze  (known  to  the  Chinese 
as  “apple-green”,)  closely  crackled.  Mark  as  on  No.  337.  Height,  12£ 
inches. 

341,  342.  Plates  of  white  Chiach’ing  porcelain  with  scalloped  edges.  Inside  are  five 

bats  surrounding  a medallion  formed  of  the  seal  character  shou — i.  e.,  long 
life  and  every  happiness — in  vermilion,  shaded,  on  a white  ground.  On  out- 
side, round  the  convex  brim  are  branching  sprays  of  plum  blossom  and  two 
birds  left  white  on  a vermilion  ground  and  shaded  with  the  color  of  the 
ground.  Mark  as  on  No.  337.  Diameter,  5-g-  inches. 

343.  Bowl  (small)  of  white  Chiach’ing  porcelain,  with  everted  brim.  Inside  plain. 

Outside  entirely  covered  with  flowers  of  many  varieties  in  red  and  cream 
yellow  on  white  ground — hence  termed  by  the  Chinese  “cup  of  100 flowers.” 
Mark  as  on  No.  337.  Height,  2\  inches;  diameter,  4 inches. 

344.  Vase  of  white  Chiach’ing  porcelain,  of  cylindrical  shape,  with  low  neck  slightly 

everted  and,  on  either  side,  below  contraction  toward  neck  a handle  in  shape 
of  an  ancient  altar,  covered  entirely  with  olive  green  dappled  ( souffle ) with 
deep  blue  black.  Mark  as  on  No.  337.  Height,  9\  inches. 

345.  Snuff  bottle  of  enamel  upon  copper,  of  flattened  globular  shape.  Body  is  entirely 

covered  with  a representation  of  a celebrated  ‘ ‘ picture  of  the  hundred  chil- 
dren” playing  in  a garden  with  pavilion  and  trees,  etc.,  painted  with  great 
care  and  detail.  On  the  neck  is  a band  of  foliate  scroll  pattern  in  deep 
blue  upon  a ground  of  very  light  shade  of  same  color,  and  above  it  a band  of 
delicate  yellowT-brown  grass  on  a ground  of  light  green.  Mark  as  on  No.  337. 
Height,  2\  inches. 

346.  347.  Bowls  (large) , a pair,  of  wrhite  Taokuang  (1821  to  1851)  porcelain  with  wide 

open  mouths.  Inside  plain.  Outside  are  sprays  of  bamboos,  with  crisp, 
bold  outline  left  white  upon  a deep  brick -red  ground.  Mark  Ta-ch’  ing-tao- 
Tcuang-nien-chih,  “Made  in  the  Taokuang  period  of  the  Great  Pure  dynasty.” 
Height,  2f  inches;  diameter,  7-g-  inches. 

348.  Tea-cup  and  cover  of  thin  white  Taokuang  porcelain,  with  wavy  brim.  On  a 
ground  of  waves  closely  engraved  in  paste  are  Han  Hsiang-tz’u  and  an 
attendant  sailing  on  a tree  toward  a pavilion  far  away  in  the  clouds,  and 
on  the  cover  is  a woman  (?  Lao-yii)  riding  a fSng-huang  (see  No.  4)  towards 
a distant  pavilion  among  the  clouds.  Mark  as  on  last.  Height,  3f  inches; 
diameter,  4 inches. 

Han  Hsiang-tz’u  is  one  of  the  Eight  Immortals  of  Taoist  fable.  He  was 
an  ardent  votary  of  transcendental  study,  to  whom  Lii  Tung-pin, 
another  of  the  Immortals,  appeared  and  made  him  his  pupil.  He 
is  represented  riding  upon  a tree  trunk  to  immortality,  in  reference 
to  the  legend  that  having  been  carried  into  the  peach-tree  of  the 
genii  (see  No.  27)  he  fell  from  the  branches  and  entered  upon  a state 
of  immortality. 


Report  of  U.  S.  National  Museum,  1900. — Hippisley, 


Plate  20. 


For  explanation  of  plate  see  page  406. 


Report  of  U.  S.  National  IVbseum,  1900. — Hippisley. 


Plate  21 


Vases  of  White  Chienlung  Porcelain  (Nos.  333  and  334). 


% 


CERAMIC  ART  IN  CHINA. 


409 


349.  Pencil  holder  of  unglazed  pure  white  Taokuang  biscuit,  of  broad  cylindrical 
shape.  Decorated  with  a landscape  of  good  design  moulded  in  high  relief, 
representing  an  old  man  riding  a mule,  followed  by  an  attendant,  over  a 
two-arched  stone  bridge  across  a mountain  torrent  towards  a monastery  built 
among  a grove  of  trees  on  a valley  slope.  Behind  are  towering  hills,  with 
roofs  of  other  monasteries  and  a pagoda  appearing  here  and  there  among  the 
peaks.  Mark  as  on  No.  346  in  relief.  Fine  specimen.  Height,  5f  inches; 
diameter,  4|  inches. 

350-352.  Wine  cups  (3)  of  white  Taokuang  porcelain.  Inside,  at  bottom,  is  a pink 
lotus  flower  bearing  in  center  a Buddhistic  ornament  in  gold.  On  outside 
around  the  brim  is  a border  of  the  Eight  Buddhistic  Emblems  (see  No.  54) 
in  vermilion,  each  two  being  separated  By  a shou  or  “ longevity”  character 
in  seal  form  in  pale  green.  Below  are  the  seven  paraphernalia  of  a Chakra- 
vartti  or  universal  sovereign  (Sanskrit  Sapta  Patna).  Between  each  pair  is, 
below,  a small  castle  on  rocks;  above,  grotesque  animals’  heads  with  depend- 
ent bead-fringe — all  painted  in  colors  and  gold.  Mark  in  Mongolian  charac- 
ters Paragon  Tumet.  Height,  If  inches;  diameter,  2f  inches. 

Mark.  A daughter  of  the  Emperor  Taokuang  married  the  Prince  of 
Western  Tumet,  a principality  of  Southern  Mongolia,  and  these  cups 
are  probably  part  of  a service  made  for  her  as  a wedding  present  at 
the  Imperial  potteries. 

The  Sapta  Patna  consist  of  (1)  the  golden  wheel  or  disc,  (2)  lovely 
female  consorts,  (3)  horses,  (4)  elephants,  (5)  divine  guardians  of 
the  treasury,  (6)  ministers  in  command  of  armies,  and  (7)  the  won- 
der-working pearl. 

353,  356,  366.  Pice-howls  (3)  of  pure  white  Taokuang  porcelain  with  slightly  everted 

brim.  Inside  at  bottom,  within  a double  ring,  are  sprays  of  chrysanthemum, 
peony,  plum  blossom,  and  pine,  and  around  the  sides  four  large  sprays  of  the 
same  plants,  the  pine,  however,  giving  place  to  the  lotus.  Outside,  on  a 
ground  covered  with  a foliate  design  closely  engraved  in  the  paste  under  a 
lemon-yellow  glaze,  are  four  pure  white  medallions,  gold-edged,  containing 
groups  of  peony,  Magnolia  yulan , plum,  chrysanthemum,  and  lotus,  beauti- 
fully painted.  Between  the  medallions  are  longevity  fungus  and  conven- 
tional lotus  with  scroll-like  foliage.  Mark  as  on  No.  346.  Height,  2|,  2£, 
and  2f  inches;  diameter,  5f,  5f,  and  5f  inches. 

354,  355.  Rice-bowls  (a  pair)  of  pure  white  Taokuang  porcelain  with  slightly  everted 

brim.  Inside  is  a star-like  decoration  at  bottom  with  eight  foliated  points 
in  vermilion,  shaded  with  deeper  tones  of  the  same  color  and  outlined  with 
gold,  between  the  points  being  conventional  flowers  of  deep  blue,  shaded 
with  darker  blue.  The  outside  decoration  is  same  as  on  last  except  that 
the  four  medallions,  instead  of  containing  flowers,  are  ornamented  with  land- 
scapes of  lake  and  mountain  scenery,  representing  the  four  seasons.  Mark 
as  on  No.  346.  Height,  2|  inches;  diameter,  5-g-  inches. 

357.  Rice-howl  of  pure  white  Taokuang  porcelain.  On  a ground  closely  covered  with 

a foliate  pattern  engraved  in  the  paste  under  a lemon-yellow  glaze  are  vases 
decorated  with  blue  containing  sprays  of  peony,  a plate  of  pomegranates, 
etc.,  in  enamel  colors.  Between  the  flowers  are  three  gold-edged  medallions 
containing,  one  a water  buffalo,  another  a ram,  and  a third  a ewe  in  grassy 
meadows  with  flowering  trees.  Mark  as  on  No.  346.  Height,  2£  inches; 
diameter,  5|  inches. 

358,  359.  Pice-howls  (a  pair)  of  pure  white  Taokuang  porcelain  with  slightly  everted 

brim.  Inside  at  bottom,  within  a double  circle,  is  the  philosopher  Lao  T’ze 
(see  No.  54) , riding  on  a wrater  buffalo  meeting  the  Queen  of  the  Fairies,  Hsi 
Wang-mu  (see  No.  28) , at  whose  feet  are  a number  of  birds,  with  clouds  and 
birds  around,  all  in  blue,  shaded  with  deeper  tones  of  the  same  color.  Out- 
NAT  MUS  1900 29 


410 


REPORT  OF  NATIONAL  MUSEUM,  1900. 


side  on  a ground  closely  covered  with  a foliated  pattern  engraved  in  the 
paste  under  a deep  blue  glaze  are  four  medallions,  gold-edged,  and  in  spaces 
between  them  are  cumulus  clouds  in  various  colors.  On  the  medallions  are 
four  mythological  subjects  which  have  eluded  efforts  at  identification,  namely, 
two  maidens  in  a pavilion  among  trees  and  rocks;  three  maidens  in  a meadow 
under  the  shade  of  trees  approaching  an  altar;  a maiden  clad  in  a green  robe 
and  holding  a rope,  seated  upon  a cloud  with  seven  magpies  at  her  feet;  and, 
lastly,  a maiden  in  a red  robe  upon  a cloud  also  with  seven  magpies.  Mark 
as  on  No.  346.  Height,  2J  inches;  diameter,  5£  inches. 

360,  364.  Rice-bowls  (a  pair)  of  pure  white  Taokuang  porcelain.  Inside  at  bottom, 

within  a double  circle,  is  a wicker  hand  basket  containing  chrysanthemums, 
peonies,  and  other  flowers,  around  which  are  four  groups  of  longevity  fungus, 
plum  blossom,  pomegranate,  chrysanthemums,  and  grass”  in  deep  blue, 
shaded  with  darker  tones  of  same  color.  Outside  on  a ground  closely  covered 
with  foliated  pattern  engraved  in  paste  under  a deep  magenta  glaze,  bearing 
conventional  lotus  flowers  with  scroll-like  foliage  in  enamel  colors,  are  four 
gold-edged  medallions  containing  sprays  of  red  and  of  purple  peonies  alter- 
nating with  groups  of  pomegranate  flowers  and  fruit  on  a pure  white  ground. 
Mark  as  on  No.  346.  Height,  2f  inches;  diameter,  5f  inches. 

361,  365.  Rice-bowls  (a  pair)  of  pure  white  Taokuang  porcelain.  Color  and  decora- 

tion same  as  on  No.  240.  Mark  as  on  No.  346.  Height,  2\  inches;  diameter, 
5f  inches. 

362,363.  Rice-bowls  (a  pair)  of  pure  white  Taokuang  porcelain,  slightly  everted  at 
brim.  On  inside  are  five  bats  in  vermilion  (symbolical  of  the  five  happi- 
nesses, (see  No.  27),  irregularly  placed  at  bottom.  On  the  outside  are  iris, 
the  veining,  etc.,  being  in  thick  color  in  high  relief,  also  conventional  pink 
lotus,  red  peony,  and  flowers  resembling  the  fox-glove  and  blue  corn-flower, 
with  scroll-like  foliage,  all  beautifully  drawn  in  enamel  colors  of  bright 
tints  'on  thick  pale  lemon-yellow  ground.  Mark  as  on  No.  346.  Height,  2J 
. inches;  diameter,  5-g-  inches. 

367.  Bowl  (small)  of  white  Taokuang  porcelain,  with  everted  brim.  Decorated  with 

a spray  of  white  plum  and  longevity  fungus  beautifully  painted,  and  with  a 
poem  from  the  pen  of  the  Emperor  Taokuang  bearing  his  seal.  Mark  SMn- 
te-t‘ang,  a designation  applied  by  tha£  Emperor  to  a portion  of  the  imperial 
apartments  and  inscribed  on  the  porcelain  specially  ordered  by  him  for  use 
there.  Height,  2\  inches;  diameter,  4\  inches. 

368.  Circular  dish  of  white  Taokuang  porcelain,  decorated  with  sprays  of  peonies  in 

vermilion  below  glaze  and  pink  above  glaze,  and  with  delicately  painted 
butterflies  and  bees  hovering  over  the  flowers,  the  sprays  spreading  around 
the  rim  and  then  crossing  the  brim  to  cover  the  interior  of  the  dish.  Mark 
as  on  last.  Height,  1J  inches;  diameter,  6f  inches. 

369.  370.  Rice-bowls  (large,  a pair)  of  white  Taokuang  porcelain.  Inside  plain.  Out- 

side, on  a plain  white  ground  not  engraved,  is  the  same  decoration  as  on  No. 
240.  The  mark  for  some  reason  has  been  ground  away.  Height,  2f  inches; 
diameter,  6|-  inches. 

371.  Jar  of  earthenware.  The  ornamentation,  which  is  in  high  relief,  consists  of  two 
bands  of  foliate  scroll-work,  confining  an  umbrella,  a cylindrical  flower-pot 
containing  coleus,  a gourd-sFaped  vase,  and  two  rolled-up  painting  scrolls 
crossed,  alternating  with  sheaves  of  ornate  foliage,  under  a black-green  glaze. 
Height,  3|  inches. 

372-375.  Plates  (4)  of  pure  white  Taokuang  porcelain  covered  with  brilliant  glaze 
and  decorated  with  beautifully  painted  sprays  of  white  plum  blossom  and 
of  pink  roses,  which,  after  trailing  around  the  deep  rim,  cross  the  brim  and 
cover  the  inside  of  the  plate.  Mark  as  on  No.  346.  Diameter,  4£  inches. 


CERAMIC  ART  IN  CHINA. 


411 


MISCELLANEOUS  COLLECTION  OF  SNUFF-BOTTLES. 


376. 


377. 


378. 


379. 


380. 


381. 


382. 


383. 


Of  white  porcelain  and  flat,  circular  in  shape,  formed  by  two  lotus  leaves,  one  of 
deep  red  grading  into  light  green  at  center,  the  other  of  deep  green  grading 
into  pink  at  center,  with  butterfly  settled  upon  each.  Admirably  moulded. 
No  mark. 

Of  white  porcelain  and  ovate  in  shape,  decorated  on  one  side  with  a Chinese 
rebus,  three  shrimps  grasping  reeds,  which  reads  San-hsia  mi-Ch‘uan-lu.  If 
the  third  character  be  omitted,  the  phrase — by  the  substitution  of  characters 
differently  written,  but  having  the  same  pronunciation — means  “ three  gen- 
erations have  gained  positions  in  the  first  class  at  the  highest  literary~exaini- 
nations.  ’ ’ On  the  opposite  side,  eighteen  crabs,  a Similar  rebus,  meaning  ‘ ‘ at 
eighteen  gained  second  place  at  the  highest  literary  examination.  ” Mark 
Tao-kuang ■ nien-cMh,  ‘ ‘ Made  in  reign  of  Taokuang.  ’ ’ 

Of  white  porcelain,  in  shape  of  a young  girl,  dressed  in  a jacket  of  blue  damask 
and  trousers  of  red  and  gold  brocade.  She  has  the  contracted  feet  of  the 
Chinese  women.  Body  hollow,  stopper  formed  by  one  foot,  which  is  remov- 
able from  trousers.  No  mark. 

Of  white  porcelain,  in  shape  of  a hoy,  intended  to  represent  T‘ung  Fang-so  (see 
No.  27),  dressed  in  a robe  of  red  and  gold  brocade  open  to  skilT  from  neck 
to  waist,  green  undergarments,  and  a summer  season  official  hat,  which  is 
removable  and  forms  stopper.  No  mark. 

Of  white  Chienlung  (1736-1795)  porcelain  and  flat  ovate  form.  The  cream- 
yellow  paste  is  engraved  to  represent  waves,  on  which  a boat  containing  two 
of  the  Eight  Immortals  (one  male  and  one  female,  see  No.  172)  is  being 
rowed  among  lotus  flowers.  Moulded  in  high  relief  and  painted  in  enamel 
colors.  Fine  specimen.  Mark  Ta-chHng  chien-lung-nien-chih. 

Of  white  porcelain  and  flat  ovate  shape.  Decorated  in  colors  with  a rebus  on 
either  side — a saddled  elephant  bearing  a jar-shaped  houdah,  reading  in 
Chinese  Ihhmg  pei  t‘dl pHitg,  'which  also  means  “Peace  rules  in  the  north,  ”- 
and  a tub  full  of  green  growing  wheat,  reading  l tiung  fa  elk  inn,  “the  whole 
Empire  (owns)  the  Great  Pure  dynasty.”  'Mark  Chien-an-ya-c  hih,  “Made 
for  Chien  An-ya,”'  an  umdenTifiudmam 

Of  white  Chienlung  (1736  to  1795)  porcelain  and  of  flat  circular  shape,  decorated 
with  mythological  personages  painted  in  colors.  Mark  as  on  No.  380. 

Of  white  Chienlung  porcelain  and  of  small  potiche  shape,  decorated  with  plum 
trees  of  the  pink  and  white  blossom  varieties,  perched  on  which  and  on 
ground  are  one  hundred  magpies,  symbolizing  “a  hundred,  that  is,  every 
kind  of  happiness,”  the  magpie,  from  its  merry-sounding  chatter,  being 
termed  “the  bird  oT happiness.”  Mark  as  on  No.  380. 

The  magpie  is  especially  dearMo  the  present  occupants  of  the  throne  of 
China  from  the  part  it  played  in  the  divine  origin  of  their  first  ances- 
tor. The  Chinese  chronicle  runs  as  follows:  Immediately  east  of 
the  pumice  peaks  of  the  Ch‘ang-pai-shan  (Long  White  Mountain) 
is  a high  mountain  called  Bukuli,  at  the  foot  of  which  is  the  small 
lake  or  pool  Buhuli.  After  bathing  one  day  in  this  pool,  the  maiden 
Li  Fokolun  found  on  the  skirt  of  her  raiment,  placed  there  by  a 
magpie,  aTfruit  which  she  ate,  and  which  caused  her  to  give  birth  to 
a boy  of  an  appearance  different  from  ordinary  people,  whence  she 
called  him  You  heaven-born  to  Restore  order  to  the  disturbed. .nations.., 
His  surname  she  called  Aisin-Gioro,  his  name  Bukuli-yung-shun. 
She  disappeared,  and  he,  embarking  in  a 'small  boat,  floated  with  the 
river  stream.  In  the  neighborhood  of  a place  where  peoples  of  three 
surnames  were  at  war,  he  disembarked,  and  was  breaking  off  willow 
branches,  when  one  of  the  warriors,  coming  to  draw  water,  saw  him. 


a julAt 


412 


REPORT  OF  NATIONAL  MUSEUM,  1900. 


384. 

385. 


386. 


387. 


388. 


cw 


389. 


390, 


391. 


392. 


Amazed  at  his  strange  appearance,  the  warrior  hastily  retired  to  in- 
form the  people  of  the  remarkable  man  he  had  seen.  The  curious 
people  went  to  the  bank  and  asked  his  name  and  surname,  to  whom 
he  replied:  I am  the  son  of  the  heavenly  maiden  Fokolun,  ordained  by 
heaven  to  restore  peace  among  you,  and  thereupon  they  nominated  him 
king,  and  he  reigned  there  in  Odoli  City,  in  the  desert  of  Omohi, 
east  of  Ch  ‘ang-pai-shan.  ’ ’ Another  version  of  the  legend  states  that 
there  were  three  heavenly  maidens  Angela,  Changhela,  and  Foko- 
lun. The  first  two  returned  to  heaven,  while  Fokolun  remained  on 
earth  to  nurse  the  miraculous  babe  till  he  grew  up.  Then  she  told 
him  to  wait  till  a man  came  to  fish.  The  fisherman  came  and 
adopted  the  boy,  and  Fokolun  ascended  to  heaven.  Pere  Amyot, 
from  whom  this  account  is  taken,  identifies  Fokolun  with  a sixteen- 
armed goddess  whom  he  calls  Pussa,  or  the  Chinese  Cybele,  but 
described  at  the  present  day  as  aBoddhisatwa,  a celestial  candidate 
for  Buddhahood.  The  story  continues  that  Aisin-Gioro,  in  spite  of 
his  heavenly  birfh,  was  put  to  death  by  his  people,  and  only  his 
youngest  son,  Fancha,  escaped  by  the  aid  of  a magpie,  which 
alighted  on  his  head  as  he  ran  and  made  his  pursuers  think  him 
the  stump  of  a tree.  Fancha  fled  from  Odoli  across  the  Ch ‘ang-pai- 
shan  to  Hotuala  and  there,  some  two  centuries  before  the  birth  of 
Nurhachu,  the  first  Manchu  chieftain  who  took  up  arms  against  the 
Chinese,  he  laid  the  foundations  of  the  future  dynasty  of  China. 
(James,  The  Long  White  Mountain,  p.  31.) 

Of  white  porcelain  and  bulging  cylindrical  shape,  bearing  an  Imperial  five- 
clawed  dragon,  well  drawn  in  blue  under  glaze  twisting  around  the  bottle. 
No  mark.  Height,  3|-  inches. 

Of  white  porcelain,  cylindrical  in  shape,  the  lower  portion  divided  into  two 
fluted  sections  by  three  double  bands.  Decorations,  branches  of  pine,  bam- 
boo, and  plum-blossom,  symbolical  of  long  life  (see  No.  181),  in  deep  blue 
under  glaze.  No  mark.  Height,  3 inches. 

Of  rock  crystal,  flat  and  circular  in  shape,  the  two  faces  of  a Carolus  dollar 
being  carved  in  relief  on  the  sides.  No  mark. 

Of  agate,  in  shape,  a flat  oblong  with  beveled  corners,  showing  an  admirable 
representation  of  a horse  feeding,  naturally  formed  in  the  stone,  in  brown  on 
a dull  opaque  white  ground.  No  mark. 

Of  pure  white  porcelain  and  of  much  flattened  globe  shape,  decorated  with  a 
rebus  on  either  side  admirably  painted  in  deep  blue  under  glaze:  (1)  Three 
crabs  holding  reeds,  reading  san  p(ang  hsich  ch‘uan  lu,  and  also  meaning 
“three  generations  gained  the  first  class  at  the  metropolitan  examinations;” 
(2)  two  pigeons  perched  in  a willow  tree,  reading  erhpa  (klo)  teng  kle,  and  also 
meaning  1 1 at  eighteen  to  be  successful  in  the  examinations.  ’ ’ Mark  Yun-shih- 
ya-chih,  “made  for  Ytin  Shih-ya” — an  unidentified  name. 

Of  white  porcelain,  tall  and  cylindrical  in  shape;  decorated  with  children  play- 
ing, of  the  natural  color  of  the  porcelain  on  a ground  covered  with  thick  black 
glace.  No  mark. 

Of  brown  agate  and  ovate  in  shape.  The  surface  is  carved  so  as  to  show 
monkeys  of  a yellow-white  color  gamboling  in  trees  and  on  ground. 

Of  white  porcelain  covered,  with  a dark  olive  or  “tea-dust”  ( Chla-mo)  glaze  and 
pear-shaped. 

Of  cream-white  porcelain  and  of  ovate  form.  On  a light  green  ground,  confined 
above  and  below  by  a narrow  waving  border  of  brick  red,  and  moulded  to 
represent  waves  are  the  Eighteen  lohan  (Chin.)  or  arha,t  (Sanskrit),  the  im- 
mediate disciples  of  the  Buddha  (see  No.  32)  in  highrelief.  On  the  cover  are 
waving  bands  of  brick  red  and  green  alternately.  Good  specimen.  No  mark. 


CERAMIC  ART  IN  CHINA. 


413 


393.  Of  white  porcelain  and  globular  shape,  decorated  with  an  imperial  five-clawed 

dragon  in  clouds  pursuing  the  sun,  painted  in  vermilion.  Mark,  a dragon. 

394.  Of  white  porcelain  and  shaped  as  a small  jar  with  wide  mouth;  decorated  with 

landscapes  in  deep  blue  under  glaze.  No  mark. 

395.  Of  white  Yungcheng  (1723  to  1735)  porcelain  and  of  cylindrical  shape;  orna- 

mented with  imperial  five-clawed  dragons  amidst  clouds  engraved  in  the 
paste  under  ? brilliant  white  glaze.  Mark  as  on  No.  85. 

396.  Of  white  porcelain  and  of  bulbous  shape  with  slender  n zk,  covered  with  a 

mottled  decoration  of  white,  blue,  and  red  wavy  streaks.  No  mark. 

397.  Ofwhite  Yungcheng  (1723  to  1735)  porcelain  and  of  elongated  globular  shape,  deco- 

rated in  deep  blue  under  glaze  with  a representation  of  two  of  the  Seven 
Worthies  of  the  Bamboo  Grove  (see  No.  53)  with  attendant  carrying  books, 
under  a tree  near  entrance  to  a pavilion.  Mark  as  on  No.  85. 

398.  Of  coarse  porcelain,  said  to  be  of  Sung  dynasty  (960  to  1278),  and  of  globular 

shape  with  short  neck  and  everted  brim,  covered  with  thick  white  glaze 
coarsely  crackled.  No  mark. 

399.  Of  white  porcelain  and  jar-shaped  with  wide  mouth;  decorated  with  imperial 

five-clawed  dragons  with  open  mouths  and  red  tongues  rising  from  waves  and 
flying  through  clouds  in  pursuit  of  sun — all  in  deep  green.  Broad  flat  cover 
ornamented  with  a similar  dragon  “sitting”  in  deep  green.  Mark  as  on 
No.  346. 

400.  Of  white  porcelain  and  cylindrical  in  shape,  decorated  with  a group  of  lotus 

flowers  and  leaves,  and  flags  in  deep  blue  under  glaze.  No  mark. 

401.  Of  white  porcelain  and  of  slender  lancelle  form,  bearing  conventional  lotus 

flowers  (the  so-called  “Western  lotus”)  and  leaves,  engraved  in  the  paste 
under  brilliant  glaze.  No  mark. 

402.  Of  white  Yungcheng  (1723  to  1735)  porcelain  and  of  cylindrical  shape,  deco- 

rated with  painting  in  deep  blue  under  glaze  of  a wrestling  match  in  the 
courtyard  of  a yamen  or  official  residence,  in  presence  of  the  occupant. 
Mark  as  on  No.  85. 

403.  Of  white  porcelain  covered  with  a crackled  glaze  and  moulded  in  form  of  a rat 

feeding  on  a corn  cob  which  it  is  holding  between  its  feet.  No  mark. 

404.  Of  white  porcelain  and  of  circular  shape,  decorated  with  a landscape  in  colors. 

Mark  (unidentified),  “Yu-tf ang-ya.” 

405.  Of  white  porcelain  and  of  bulbous  shape,  with  slender  neck;  decorated  with 

painting  in  deep  blue  under  glaze,  representing  the  Eighteen  Lohan  (Chi- 
nese) or  Arhat  (Sanskrit),  the  immediate  disciples  of  the  Buddha  (see  No. 
32).  The  mark  attributes  the  snuff-bottle  to  the  Ch‘enghua  period  (1465  to 
1487),  but  it  more  probably  belongs  to  the  K‘anghsi  (1662  to  1722) . 

406.  Of  white  porcelain  and  of  bulbous  shape,  with  tapering  neck,  covered  with  a 

brilliant  deep  blue  ( bleu  de  roi ) glaze.  No  mark. 

407.  Of  creamy  white  porcelain  and  of  flattened,  circular  shape;  on  a ground  repre- 

senting waves  engraved  in  paste  are  genii  paying  homage  to  the  maiden  im- 
mortal Ho  Hsien-Ku  (see  No.  32).  A fine  specimen  of  this  ware.  No  mark. 

408.  Of  white  porcelain  and  of  tali,  ovate  form,  with  cup-shaped  neck;  well  moulded 

in  open-work  representing  imperial  five-clawed  dragons  amid  clouds  and 
flame,  confined  at  top  by  foliate  scroll  and  Grecian  pattern  bands,  all  colored 
deep  vermilion;  cover  to  match.  No  mark. 

409.  Of  white  Ming  dynasty  porcelain  and  of  tall,  cylindrical  shape,  decorated  with 

a painting  in  blue  and  vermilion  under  glaze  of  the  Three  Heroes,  Chang 
Liang,  Ch‘en  PMng,  and  Han  Hsin.  No  mark. 

Chang  Liang  was  one  of  the  earliest  adherents  and  afterwards  chief 
counsellor  of  Liu  Pang,  the  founder  of  the  Han  dynasty,  whose  cause 
he  embraced  B.  C.  208,  and  to  whose  triumph  he  materially  contrib- 
uted by  his  wise  counsels.  He  died  B.  C.  189. 


414 


REPORT  OF  NATIONAL  MUSEUM,  1900. 


Ch‘en  P‘ing  was  of  very  humble  origin,  but  his  virtue  having  brought 
him  into  prominent  notice  he  rose  to  high  rank.  Subsequently, 
like  Chang  Liang,  he  espoused  the  cause  of  Liu  Pang  B.  C.  205,  and 
made  himself  famous  on  six  occasions  by  master  strokes  of  policy, 
which  greatly  aided  the  successful  issue  of  the  contest  for  the  throne. 
Han  Hsin  was  a grandson  of  the  Prince  of  Han,  whose  territory  had 
beerTseized  by  the  Chfin  dynasty.  He  also  espoused  the  cause  of 
Liu  Pang,  whose  armies  he  commanded.  After  subjugating  princi- 
pality after  principality  he  was  raised  to  princely  rank,  but  having 
been  accused  of  high  treason  his  person  was  seized.  He  was,  how- 
ever, amnestied  and  given  the  government  of  T‘ai-yiian,  but  again 
fell  under  suspicion  and  was  this  time  executed  by  the  Empress 
Lii  B.  C.  196. 

410.  Of  white  porcelain  and  pear-shaped.  On  a white  ground  closely  covered  with 

peony  sprays  bearing  blue  leaves  and  vermilion  flowers  and  buds  is  an  im- 
perial five-clawed  dragon,  also  in  vermilion.  No  mark. 

411.  Of  white  Yungcheng  porcelain  and  of  cylindrical  shape,  decorated  with  a paint- 

ing in  brilliant  blue  under  glaze,  in  the  autumn  evening  (as  the  accompany- 
ing inscription  states)  an  old gentleman,  followed  by  attendant  holding  an 
umbrella  over  his  head,  enters  a lamp-hung  ferryboat  to  cross  the  river. 
Mark  as  on-No.  85. 

412.  Of  white  porcelain  and  of  pear  shape.  The  ornamentation  is  of  unusual  style, 

and  seems  to  show  the  impress  of  Japanese  influence.  On  a ground  of 
magenta-vermilion  appear  medallions  of  the  natural  color  of  the  porcelain, 
on  one  of  which  is  the  character  shou  (longevity),  on  another  pomegranate 
fruit,  on  another  a group  of  pine,  bamboo,  and  plum  blossom  (symbolical  of 
long  life;  see  No.  181),  and  on  others  conventional  flowers  or  diaper  patterns. 
No  mark. 

413.  Of  white  unglazed  (biscuit)  porcelain,  and  of  flattened  globular  shape,  bearing 

four-clawed  dragons  rising  from  waves  and  flying  through  flames  and  clouds 
in  pursuit  of  the  sun,  drawn  and  shaded  in  black.  No  mark. 

414.  Of  white  Chienlung  (17*36  to  1795)  porcelain,  and  of  flat,  jar  shape.  On  either 

face,  on  white  ground,  sprays  of  peony,  chrysanthemums,  and  other  flowers 
spring  from  among  rocks,  painted  in  enamel  colors.  Round  the  sides  and 
on  neck  are  conventional  flowers  and  scroll-like  foliage  in  vermilion.  Mark 
Chien-lung-nien-chih , - ‘ ‘ Made  during  reign  of  Chienlung.” 

415.  Of  white  porcelain  and  of  squat  jar  shape,  covered  with  thick,  black  glaze,  ex- 

cept on  portions  where  appears  the  decoration,  which  is  in  blue  under  white 
glaze,  and  represents  a father’s  return  home.  The  son  runs  to  meet  him, 
while  the  wife,  seated  on  a stool,  awaits  his  coming,  behind  her  being  a 
large  loom  at  which  she  has  been  working.  Broad,  flat  cover  of  porcelain 
in  imitation  of  jade,  ornamented  with  the  figure  of  yin-yang,  the  Two  Pri- 
mordial Essences  (see  No.  40)’.  No  mark. 

416.  Of  agate.  A life-like  representation  of  a toad  with  wart-like  excrescences  all 

over  the  back.  Handle  of  spoon  is  of  dqep-red  coral  elaborately  carved  into 
a bunch  of  peonies  and  leaves.  - 

MISCELLANEOUS  COLLECTION  OF  BRONZES. 

417.  Low,  open  tripod  brazier,  bearing  three  long  panels,  of  which  the  ground  is  ex- 

cised, leaving  Arabic  characters  in  relief.  Mark  in  relief  K’  ai-yuan-nien-chih, 
“Made  in  the  K’ai-yiian  period”  of  the  T’ang  dynasty,  A.  D.  713  to  842. 
Height,  5|  inches;  diameter,  10|  inches. 

418.  Incense-burner,  in  shape  of  a beautifully  formed  fruit  of  the  “Buddha’s  hand ’ ’ 

citron  ( Citrus  sarcodactylus) , hollowed  out  to  hold  incense.  Beneath,  at 


CERAMIC  ART  IN  CHINA. 


415 


lower  end,  is  a knotted  stalk  which  forms  the  handle  and  passes  under  the 
fruit  so  that  the  joints  form  supports  on  which  the  fruit  rests,  and  leaves 
curl  along  its  side.  Mark  in  relief  Ta-ming  Hsuan-te-nien-chih , ‘ ‘ Made  in  the 
Hsuan-te  period  (1426  to  1435)  of  the  great  Ming  dynasty.”  Length,  9 
inches. 

419,420.  Candlesticks  (a  pair).  From  hexagonal  pots  on  carved  stands  rises  a lotus 
stalk  out  of  which  springs  a bunch  of  buds  and  leaves,  the  central  stalk  bear- 
ing a fully  opened  flower  which  holds  the  candle.  Delicately  modeled  and 
of  good  workmanship.  Probably  of  same  date  as  last.  Height,  13J  inches. 

421.  Tripod  incense-burner , formed  of  a circular  bowl  having  a band  of  Grecian  pat- 

tern round  the  rim  with  lotus  flowers  in  relief  below,  and  resting  on  three 
feet  formed  of  elephants’  heads,  richly  harnessed,  with  curved  trunks.  A 
handle  on  either  side  formed  of  similar  elephant’s  head.  The  cover  is 
formed  of  an  elephant  lying  down  among  lotus  flowers  in  open-work,  and 
bearing  on  its  back  a basket  of  fruit.  Height,  7f  inches;  diameter,  3f  inches. 

422.  Vase. — Around  rim  is  a band  of  Grecian  pattern  with  a deep  one  of  foliated 

scroll-work  below.  The  body  is  divided  by  two  raised  bands,  the  upper  one 
almost  in  middle  of  the  vase,  between  which  are  the  character  shou  (longevity), 
forming  medallions,  with  two  bats  on  either  side;  outside  of  this  division  a 
geometrical  pattern  resembling  honeycomb,  with  a small  medallion  of  divin- 
ities in  center.  Round  the  foot  a band  of  geometrical  panel  scroll-work. 
On  either  side,  on  level  of  the  upper  raised  band  already  mentioned,  is  a handle 
formed  by  a rectangular  projection  inlaid  with  silver,  supporting  a lion  or 
‘ ‘ dog  of  Fo.  ’ ’ The  ornamentation  throughout  is  inlaid  with  silver.  Marked 
Ssu  Lou,  a,  famous  maker  in  the  Sung  dynasty  (960  to  1278),  but  in  reality 
an  imitation,  of  comparatively  modern  date. 

423, 424.  Snuff  bottles  of  flat  oblong  shape  with  beveled  corners.  On  aground  divided 
by  bands  into  small  squares,  each  containing  a flower,  is  a central  medallion 
containing  immortelles.  Ornamentation  throughout  in  silver.  Mark  as  on 
last. 

425.  Pencil  holder  of  cylindrical  shape,  bearing  a landscape  of  river  scenery  with  lofty, 

well-wooded  mountains  rising  on  either  side,  beautifully  drawn  and  inlaid 
with  gold. 

426.  Incense  burner  of  open  circular  shape  standing  on  three  feet.  Upon  a ground  of 

lines  of  Grecian  pattern  are  four  small  medallions  containing  grotesque  ani- 
mals. Round  the  rim  and  the  tall  looped  handles  rising  from  it  is  a wavy 
pattern  in  inlaid  silver,  the  ornamentation  throughout  being  similarly  inlaid. 
Mark  as  on  No.  422. 

427.  Vessel  (small)  formed  of  a removable  cup  fitting  into  a circular  body,  lined  with 

silver  and  decorated  with  inlaid  work  in  the  same  metal.  On  the  cup,  on  a 
ground  of  foliate  pattern,  confined  above  and  below  by  a band  of  Grecian 
pattern,  are  four  small  medallions  containing  landscapes.  The  circular  lower 
portion  bears  similar  decoration.  Good  specimen. 

428.  Tripod  incense  burner  of  circular  shape  on  tall,  slender  feet;  on  body  and  legs  a 

wavy,  cloud-like  pattern  in  outline;  round  the  sides  of  rim  and  of  tall  rounded 
handles  a band  of  Grecian  pattern;  on  top  of  rim  a scroll  pattern,  orna- 
mentation throughout  being  inlaid  in  silver.  Mark  Ssu  Lou,  this  being  a 
genuine  specimen  of  the  work  of  this  celebrated  artist  of  the  Sung  dynasty 
much  prized  by  Chinese  connoisseurs.  Height,  4 inches. 

429.  Tripod  incense  burner  of  circular  shape,  on  low  feet,  with  cover.  The  body  is 

ornamented  with  very  delicately  drawn  landscapes  inlaid  with  gold,  having  on 
either  side  a gilt  lion-head  handle.  Cover  in  open  work  resembling  a closely 
spoked  wheel,  surmounted  by  a lion,  all  gilt.  No  mark.  Height,  3f  inches. 


416 


REPORT  OF  NATIONAL  MUSEUM,  1900. 


430.  Tripod  incense  burner  of  circular  shape,  on  low  feet.  Body  ornamented  in  manner 

similar  to  last  and  with  similar  handles.  Cover  consists  of  openwork  flowers 
and  foliage  surmounted  by  a lion  in  relief,  all  gilt.  No  mark.  Height,  3f 
inches. 

431 . Tripod  incense  burner  of  circular  shape,  on  low  feet.  On  body,  between  two  gilt 

lion-head  handles,  are  two  panels  on  which  are  sculptured  in  relief  and  gilt 
sprays  of  plum  blossom,  chrysanthemum,  etc.,  and  the  mythical  creatures 
fengliuang  (see  No.  4)  and  ch‘ilin.  Cover  consists  of  openwork  chrysanthe- 
mums and  leaves  surmounted  by  a lion,  all  gilt.  No  mark.  Height,  4f  inches. 

Chlilin , chli  being  the  designation  of  the  male,  and  lin  of  the  female,  is 
the  generic  name  of  one  of  the  four  supernatural  creatures  of  Chi- 
nese tradition.  It  is  described  as  having  the  body  of  a deer,  the  tail 
of  an  ox,  and  a single  horn,  and  as  being  the  noblest  form  of  animal 
creation.  It  is  said  to  attain  the  age  of  one  thousand  years,  and  to  be 
the  emblem  of  perfect  good,  its  apparition  being  considered  the 
happy  portent  of  good  government  or  of  the  birth  of  virtuous  rulers. 
Nevertheless,  the  apparition  of  one  of  these  marvelous  beasts  was 
considered  by  Confucius  as  an  omen  of  approaching  evil,  so  mani- 
festly inappropriate  was  it  to  the  disorder  of  his  times;  and  he  con- 
cluded the  history  of  his  native  state  of  Lu  with  the  record  of  this 
* event. 

432.  Tripod  incense  burner,  of  broad,  circular  shape,  on  low  feet.  Round  the  sides  of 

brim  and  of  tall  rounded  handles  runs  a Grecian  pattern.  On  body,  covered 
with  square  diaper  pattern,  containing  in  each  diaper  a flower  of  five 
rounded  petals,  are  four  panels  containing  representations  inlaid  in  silver,  as 
is  the  rest  of  the  ornamentation,  of  grotesque  animals.  Mark  as  on  No.  422. 
Height,  4|  inches. 

433-434.  Pencil  holders  of  cylindrical  shape,  in  imitation  of  basket  work,  over  which 
are  crawling  tortoises  and  frogs,  evidently  of  Japanese  manufacture. 

MISCELLANEOUS  COLLECTION  OF  OLD  LACQUER  WARE. 

435.  Box  of  scalloped  circular  shape.  On  top,  over  ground  of  dark-green  diaper, 

a landscape  in  red  lacquer  carved  in  relief,  with  a number  of  children  play- 
ing. The  sides  are  ornamented  with  a carved  diaper  pattern,  the  scallops 
being  red,  and  deep  green,  with  red  centers  alternately.  This  and  two  fol- 
lowing numbers  are  specimens  of  the  celebrated  lacquer  ware  produced  at 
Suchou,  in  Kiangsu  province,  during  the  reigns  of  Yungcheng  and  of  Chien- 
lung.  Height,  If  inches;  diameter,  3f  inches. 

436.  Box  of  circular  shape  and  of  red  color  throughout.  On  a diaper  ground  are 

. sprays  of  plum  blossom  and  fruit  in  high  relief,  the  fruit  being  diapered  like 
the  ground.  Height,  2\  inches;  diameter,  5|  inches. 

437.  Snuff  bottle,  heart  shape.  On  a diaper  ground  of  deep  green  are  sprays  of  plum 

blossom,  Malcixis  and  Epidendrum , and  longevity  fungus  in  high  relief,  in  red. 
Height,  2f  inches. 

438.  Ivory,  representing  four  segments  of  bamboo,  in  the  interior  of  each  of  which 

is  a spray  of  lotus,  of  plum  blossom,  of  peony,  and  of  chrysanthemum, 
respectively,  beautifully  carved  out  of  a solid  block.  Admirable  specimen  of 
old  ivory  carving.  Length,  2f  inches;  diameter,  If  inches. 


